PR 4699 

•^145 I>RIOE IS CENTS 

]E4 = 



,^^ 



,E WITT'S ACTING PLAYS. 

(Number 202.) 




EILiEIISN OGE ; 



OK, 



DARK'S THE HOUR BEFORE THE DAWN. 

AN IRISH DRAMA, 

I]Sr FOUR A.CT8. 



By EDMUND FALCONER, 

Authw of "■Extre7nes," " Peep o' Day," " Innisf alien," " Onagh," 
etc.. etc. 



As first performed at the Princess's Theatre, London, tinder 
the management of Messrs. "Webster and Chatter- 
ton, on Thursday, June 29, 1871. 



TO WHICH ARE ADDED, 

A description of the Costumes— Synopsis of the Piece— Cast ot the Characters 

—Entrances and Exits— Relative Positions of the Performers on 

the Stage, and the whole of the Stage Business. 




it t to - 2 r k : 

ROBERT M. DE WITT, PUBLISHER, 
No. 33 Hose Street. 




Tvnir I ^ ^ COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT'S ACTING 

^*^**^ .; PLAYS, AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, containing 

iEAnT, I Plot, Costume, Scenery, Time of Representation, and every other informa- 

• tion, mailed free and post-paid. 



55. 



65. 
68. 

re. 

149. 
121 



DE WITT'S ACTING PLAYS, 



p^^ Please notice that nearly all the Comedies, Farces and Comediettas in the following 
kstofDE Witt's Acting Plays" are very suitable fw representation in small Amateur Thea- 
tres and on Parlm' Stages, as they need but little extnnsic aid from co^niMcated scenery or 
expensive costumes. They have attained their deserved i)opidanty by their droll situations^ 
excellent plots, great humor and brilliant dialogues, no less than by the fact that they are the 
most perfect in every respect of any edition of x>lays ever published either in the United States 
or Europe, whether as regards purity of the text, accuracy and fulness of stage directions and 
scenery, or elegance of typography and clearness of imnting. 

*:^* In ordering please copy the figures at the commencement of each piece, which indicate 
the number of the piece in "De Witt's List op Acting PLArs." 

1^° Any of the folloioing Plays sent, jiostage free, on receipt of price — 15 
cents each 

Address.. ROBERT M. DE WITT, 

JVo. 33 Hose Street, JVew York. 
I[^" The figure following the name of the Play denotes the number of 
Acts. The figures in the columns mdicate the number of characters — M. waZe; 
F. female. 
No. M. F. No. M. p. 

75. Adrienne, drama, 3 acts 7 

114. Anything for a Change, comedy, 1 3 
167. Apple Blossoms, comedy, 3 acts. . . 7 

93. Area Belle (The), farce, 1 act 3 

40. Atchi, comedietta, 1 act 3 

89. Amit Charlotte's Maid, farce. 1 act.. 3 
Game of Cards (A), comedietta, 1 3 
Bardell vs. Pickwick, sketch, 1 act. 6 

Beautiful Forever, farce, 1 act 2 

Bells (The), drama, 3 acts 9 

Birthplace of Podgers, farce, 1 act. . 7 

Black Sheep, drama, 3 acts 7 

Blow for Blow, drama, 4 acts 11 

Bonnie Fish Wife, farce, 1 act 3 

Breach of Promise,, drama, 2 acts. . 5 
Broken-Hearted Club, comedietta. 1 4 

Cabman, No. 93, ftirce, 1 act 2 

Caste, comedy, 3 acts 5 

Caue:ht by the CiifE, farce, 1 act 4 

Cast upon the World, drama, Sacts.lO 
Catharine Howard, historical play, 

3 acts 12 

Charming pair, farce, 1 act 4 

Checkmate, comedy, 2 acts 6 

Chevalier de St. George, drama, 3 9 
Chops of the Channel, farce, 1 act. 3 

Clouds, comedy, 4 acts 8 

Comical Countess, farce, 1 act 3 

r07. Cupboard Love, farce, 1 act 2 

'i52. Cupid's Eve-Glass, comedj--, 1 act... 1 

52. Cup of Tea, comedietta, 1 act 3 

148. Cut off with a Shilling, comedietta, 

1 net 2 

113. C.vriirs Success, comedy, 5 acts 10 

199. Captain of the Watch (The), come- 
dietta, 1 act 4 

20. Daddy Gray, drama, 3 acts 8 

4. Dandelion's Dodges, farce, 1 act 4 2 

22. David '.arrick, comedy, 3 acts 8 3 

96. Dearest Mamma, comedietta, 1 act, 4 3 

16. Dearer than Life, drama, 3 acts 6 5 

58. Deborah (Leah) drama, 3 acts 7 6 

125. Deerfoot, farce. 1 act 5 

71. Doing for the Best, drama, 2 acts. . 5 



Dreams, drama, 5 acts 6 

Duchess de la Valliere, play, 5 acts . . 6 

Easy Shaving, farce, 1 act 5 

Everybody's Friend, comedy, 3 acts. 6 

Estranged, an operetta, 1 act 2 

103. Faust and Marguerite, drama, 3 acts, 9 
9. Fearful Tragedy in the Seven Dials, 

interlude, 1 act 4 1 

128. Female Detective, drama, 3 acts .... 11 4 

101. Feniande, drama, 3 acts 11 10 

99. Fifth Wheel, comedy, 3 acts 10 2 

145. First Love, comedy, 1 act 4 

102. Foiled, drama. 4 acts 9 

88. Founded on Facts, farce, 1 act . . . . 4 

74. Garrick Fever, farce, 1 act 7 

53. Gertrude's Money Box, farce, 1 act. 4 
73. Golden Fetter (Fettered), drama, 3 11 
30. Goose with the Golden Eggs, farce, 

1 act 5 

Go to Putney, farce, 1 act 4 

Happy Pair, comedietta, 1 act 1 

Hard C:ise (A), farce, 1 act 2 

Henry Dunbar, drama, 4 acts 10 

180. Henry the Fifth, historical play, 5 38 

19. He's a Lunatic, farce, 1 act " 3 

60. Hidden Hand, drama, 4 acts 5 

187. His Own Enemy, farce, 1 act 4 

174. Home, comedy, 3 acts ; 4 

64. Household Fairy, sketch, 1 act 1 

190 Hunting the Slipper, farce, 1 act 4 

191. High C, comedietta, 1 act 4 

197. Hunchback (The), play, 5 acts 14 

18. If I Had a Thousand 'a Year, farce, 

1 act 4 

116. I'm Not Mesilf at All, original Irish 
stew, 1 act 3 

129. In for a Holiday, farce, 1 act 2 

159. In the Wrong House, farce, 1 act. . . 4 

122. Isabella Orsini, drama, 4 acts 11 

177. I Sha'l Invite the Major, comedy, 1 4 

100. Jack Long, drama, 2 acts 9 

139. Joy is Dangerous, comedy, 2 acts. . . 3 

17. Kind to a Fault, comedy, 2 acts 6 



131. 



151. 

8. 



3 86. Lady of Lyons, play, 5 acts 1 

142. Dollars and Cents, comedy, 3 acts. .9 4 i 72. Lame Excuse, farce, 1 act 4 



71 



EILEEN OGE; 

OR, 

DARK^S THE HOUR BEFORE THE DAWN. 

%n Iris^ grama;, 

IN FOUR ACTS. 

/ 
Br EDMUND FALCONER. 

AtUhor of " Extremes,''^ " Peep o' Day," " Innis/allen," " Oonagh," etc, etc. 



AS FIRST PERFOllMED AT THE PRINCESS'S THEATRE, LONDON, UN- 
DEE THE MANAGEMENT OF MESSRS. WEBSTER AND 
CHATTERTON, ON THURSDAY, JUNE 29, 1871. 



TO WHICH ARK ADDED, 



DESCRIPTION OF THE COSTUMES — CAST OP THE CHARACTERS — EN- 
TRANCES AND EXITS RELATIVE POSITIONS OP THE PER- 
FORMERS ON THE STAGE, AND THE WHOLE 
OF THE STAGE BUSINESS. 







NEW YORK; 
ROBERT M. DE WITT, Publisher, 

No 33 Rose Street. 
Copyright, ISTO, by RopBRX M. Pe Witt. 



i7W 



2 EILEE3T 0GB. ''V \V^ V 

CAST OF CHARACTERS^ 

PHncess's Theatre, Grand Opera Rouse, N. 
London, June 29, 1871. Y., Oct. 2, 1871. 

Patrick O'Donnell (Comedy Lead) Mr. J. G. Shore, Mr. Geo. Clarke. 

Mr. Moriarty Mr. Jordan. Mr. T. J. Hind. 

Bryan O'Farrell (Low Comedy Lead) — Mr. Falconer. Mr. W. J. Florence. 

Henry Loftus (Heavy) Mr. G. Jordan. Mr. E. Thorne. 

Kev, Mr. Mohoney (Old Man) Mr. Barrett. Mr. J. F. Hagan. 

Maclean (2d Old Man) Mr. H. Clifford. ]\lr. C. W. Barry. 

John Thomas (Low Comedy) Mr. C. Seyton. Mr. C. W. Fiske. 

Peter McCann (Vocalist, 2d Low Comedy)Mr. R. Ro.mer. Mr. Geo. Johnson. 

Tim the Penman (Eccentric Comedy).. .Mr. Cullen. Mr. Waddleton. 

Mr. Creagh (Utility) Mr. Meade. Mr. C. Burke. 

Mr. Nolan (Utility) Mr. Tapping. Mr. Barkle y. 

Farmers, Peasants, Haymakers, Bailiffs, Constables, Police Officers, etc. 

Eileen Moriarty (Lead) Miss Rose Leclerq. Miss Rose Evans. 

Norah O'D.onnell (Comedy or Juvenile). .Miss Edith Stuart. Miss Ione Burke. 
Bridg^i^ Magnire (Chambermaid) Miss Hudspeth. 

Peasant Girls, Bridesmaids, Guests, etc. 



BCENERT (Irish, County Limerklc ) 
ACT I.— Scene /.—Exterior of Farmhouse and Landscape, in 5th grooves. 



-5C- 



B* 



A A A A 



Door. 



On flat, view of mountains iind heath ; in middle distance, r., ruins of Black Abbey 
and Holy Cross Hill. R. 2 e. set, ruined archway ; the wings, R., ruined wall in 
profile, covered with moss and creeper;^. L. 2 and 3 e., exterior of two-stoned cot- 
ta;^, window above, and door, praci icable ; tiowers and creepers. A, A, A, A, rocks 
and bank of grass. B, B, B, set path masked by plants and grass-grown stones ; it 
leads on from L. and u. u. e.'s to the stage at B*. L. Ist groove wing, foliage. 
Sky sinks and tree borders. Sunlight effect, r. v. e. A clothes-line l, 3 e., with 
pettieoats drying. 



V 

f ta 



EILEEN OGE. 



3 



Sctnt //.—Office Interior, in 1st grooves. Painted, d. c, book-shelves and writing 
table, land maps. 

Sctne III.—Sa.Tne as Scene I., Act I. 

ACT 11. — Interior of Sitting-room in a well-to-do farmer's house, in 3d grooves. 
Plain wall red wainscotted for four feet up from the floor , a few framed prints. D. r. 
and L. Table L. c, sofa r. c. ; chairs. C. in f., sliding trap and transparency to show 
a dream : a set rock and ocean view, with bright sunlight from r., in 3d entrance. 

Scent. II. — Landscape in 1st grooves, or on canvas to roll up ; range of sugar-loaf 
hills, from front, r. to L. in the distance, with the wall extending to the stage level. 
Sunlight from L. 

Scene III. — Landscape and hayfield, in 5th grooves, platform at back, masked by 
grassbank and rocks. 

ACT III.— Scene /.—Same as Scene /, Act IT. 

Scene 77.— Same as Scene II., Act II. 

Scene III. — Interior of an old Water-mill, in 5th grooves. 

5ff 



Door I 



Door. I 4 



• • • I Door. I 



Door. 



: : A 



On flat, wild landscape. Moonlight r. u. e. The doorways are ail open except l. 
I)., which has a practicable door. Closed in. The R. ». f. is supposed to open on 
a platform above a precipice ; and a trap is there open. A crane without r. d. f. 
holds a strong rope or chain. B, is a low platform, with a rude railing, with a flat 
top-rail. The c. d. f. gives a view of fallen-in beams, rafters, etc. The fiat has 
crevices and hanging-boaids, through which the moonlight enters irregularly. The 
L. D. F. i.s ruinous. Both sides dark. Trap, A, to lift up on hinges. 

ACT 1 V. — Scene I. — Same as Scene I., Act I. 

Scene 77.— Interior of handsome apartment, in 1st grooves. A carved marble 
mantel c, in f., painted. 

Scene 777.— Same as Scene /., Act I., the lights fully on. 



COSTUMES {Irish, x>resent day.) 

U'UoxNFLL.— v4c< /.— (Scfne 7,: Plain, neat black suit. Scene III.: Wedding suit. 

Acl 11 1. —Scene II. : Disguised, plain dress of aforeign cut. Act IV. —Scene III. : 

I'n c.-ci y the same la all respects as m Scene III., Act I. 
U'F\i<uKLL. — Irisli peasant, homespun, gray mixed coat, red waistcoat, black neck- 

eicuiex, giuy caiico siiirt, gray stock'ings, greased brogues, tustian breeebes, hat. 



4 EILEEN OGE. 

LoFTUS.~^d /. : "Walking'dress, light overcoat. Act II.— Scene II. : Black coat, 
white pants, riding whip. Act III.— Scent I.: Black hat, military red coat and 
white pants. Act IV. : Wedding-dress, flower at coat buttonhole. 

MouiAKTY. — Acts I. and IV.: Blue coat, buff or white waistcoat, watch and heavy 
chain, cane. Other Acts : Plain dress. 

Ekv. SIr. Mahon ex.— Catholic priest. Black, broad felt hat, eye-glass, as usual; 
cane. 

Maclean. — Black coat, gray pants ; severe dress; side-whiskers ; speaks North of 
Ireland Scotch. 

John Thomas. — Liverj'. Speaks like a cockney. 

Tim the Penman. — Ilusty black suit, very tight, dirty white stockings, shoes trod- 
den down at the heel, pants too short tor him, long tails to his coat, battered 
hat ; cunning expression, and evidences of being an inebriate. 

Peteu McCann.— Peasant ; made up stout. 

MacShane.— Uusty black suit, short staff, tipped with a gilt crown. 

Ckeagh and Talbot.— Gentlemanly walking-dresses. 

Nolan and O'Beirke, well-to-do farmers' sons. 

Police.— Uniform, carbines. 

Peasants.— As usual. They work in their shirtsleeves, Scene III., Act II. 

LoFTOs's Servant.- Peasant dress, with bunches of ribbon. 

Eileen Moriakty. — Act I.— Scene, I.: Neat dress. Scene HI.: "Weddin? dress. 
Act 11. : Hou^e-ilress. Act III.: Same as last, or change. Act IV. — Scene 1. : 
Same as last. Scene III. : Wedding-dress. 

NouAH O'DoNNELL. — Act /.—Bridesmaid's dress, white over blue skirt, flowers in lier 
hair. Acts II. and HI. : Plain peasant's dress, white over red petticoat, straw 
hat or no hat. Act IV. : Same as Scene III., Act I. 

Bridget Maguire.— Peasant girl's dress. 

Peasant Giuls.— As usual. 

Mrs. Mobiabty. — Neat old-fashioned silk dress, bonnet with feather. 



PROPERTIES. 



ACT I. -Scene /.—Broom, Scene //.- Papers, letter. Scene ///.—Carbines, not to 
fire, for Police. ^ci/J.-^Sccne /.—Papers and books on table. Scene //.—Riding- 
whip. Scene III. — Hay-rakes, and forks; hay ; Irish bag-pipes; keg of liquor; 
tin cups ; sticks for Peasants ; warrant. Act III.— Scene III. — A pistol, to fire. 
Act Jr.— warrant. 



TIME OF PLAYING— THREE HOURS. 



STAGE DIRECTIONS, 

R. means Right of Stiire, facing the Audience ; L. Left ; C. Centre ; R. C. Riirht 
of Centre ; L. C. Left of Centre. D. F. Door in the Flat, or i^cene running across 
the back of the Sttige ; C. D F. Centre Door in the Flat ; R. D. F. Right Door in 
the Flat ; L. C. F. Left Door in the Flat; R. D. Right Door ; L. D. Left Door ; 1 E. 
Fii-st Entrance ; 2 E. Second Entrance ; U. E. Upper Entrance : 1, 2 or 3 G. First 
Second or Third Groove. 

R. R. C. C. L.C. L. 

B3* The 2 ader a^supposed to be upon the stage facing the audience. 



rn.Kix oGE. 6 

(Copy of Origiiiul Bill.) 

SYNOPSIS OF SGENERT AND INCIDENTS^ 

For Programmes, etc. 

ACT I. 

Scene I— THE HAWTHORNS, MR. MORIARTY'S FARM. 

With a View of Black Ahhey Church and Holy Cross Hill, 

Somewhere in the Couuty Limerick, niah the Banks of the Shannon. Time— A 
M.iy Morning. 

Bridget and her Rival Adorers— The Shoneen and the Paddy— The approaching 
Marriage— The Mystery— What's the meaning— A true Lover yet a 
woe-begone Bridegroom— The Priest and his Pupil— Ex- 
planations — The Mystery Cleared — Eileen's 
Love put to the Test— The I^ue. 

Scene IL— MACLEAN, THE MIDDLEMAN'S OFFICE. 

The Young Squire— O'Donnell's Rival — The Plot— "Break off the marriage; rid 
me of him at any price ! " — The Threatening Letter— Terry Alt- 
Martial Law ; how used and abused. 

Scene III.— THE HAWTHOENS, as before. 

Wedding Bells— The Bridegroom comes with bis Friend and Follower's— A primitive 

way of taking the Bride to Church— A Flash of Lightning— The sky 

o'ercast — Unexpected Climax, 

" Oh ! wild as the accents of lover's farewell 

Are the hearts which they tear and the tales that they tell." 



A LAPSE OF FIVE YEARS SUPPOSED TO OCCUR. 



ACT II. 

Scene L-THE PARLOR IN MR MORIARTY'S HOUSE. 

The Priest and the Farmer— Confidence— Trouble— An easy way out of it— If Ei- 
leen would only foruet Patiick— The Priest's counsel sought— His advice— 
The Notice of Distraint— Eileen in commune with her heart- 
Patrick! where is he ?— The Revealment. 

Scene II.— A ROADSIDE. 

Loftus and Maclean— A Plot to drive Eileen into the Toils— Tim the Penman— An 

Insolent Medicant— What Whiskey will bring a man to— Poor Miss 

Norah O'Donnell on her way to seek work— The Wolf 

and the Lamb— The Good Shepherd— 

The Church Militant. 

Scene III.— THE HAYFIELD. 

Boys and Girls at Work and at Play— Mighty dhry, but full of sympathy for the 

neopliyte, Norah- Bridget and Bryan— A Battle of Brains— Oh, isn't it fun to 

make love in tlie hay -Buttermilk and Whiskey— Thady the Piper— The 

Bags in full blast— It isn't a Jig, but it's a gallows good dance— The 

Haymaker's Run— The Bailiffs and the Police -An attempt at 

Distraint for Rent— Bayonets and Pitchforks -Shillalehs | 

and Batons— A pretty dacent sort of a Fight— A 

Bkriromage— A Ruction and Riot, 



b EILEEN OQE. '^ 

ACT III. 
Scene I.— THE PARLOE AT MR. MOP.IARTY'S. 

The ruse sucQpssful— Poor Eileen in the Toils— Oh ! Patrick, forgive me, my heart 
is s'.ill thine, only thine. 

Scene II.— A ROADSIDE. 
Bridget in her glory, making a Fool of the Slioneen— A Safe Premise— Paddy's Wic 
and Johnny's Self-conceit— THE RETURN OF THE EXILE— " There came 
to the beach a pour Exile of Erin, the dew on his thin robe was heavy and 
chill " — A joyful Meeting — The Squire and the Middleman— Suspic- 
ions and alarm — The Letter to Norah — Mysterious Appoint- 
ment — The suggested Murder— The Plot Laid— Rid me 
of him at any price. 

Scene III— INTERIOR OF THE HAUNTED WATER MILL 

Norah in Search of Patrick — Obliged to seek Concealment — Maclean and MacShanc 
— Murdef on the Watch — The Victim comes, but Accompanied ! — Retire 
and wait — Two ways Out— A Descent by the Crane — A Dive in the 
Mill Race— Bryan gone, Patrick alone — Tlie Attempt to Ar- 
rest — Sensation upon Sensation — The Meditated Mur- 
der — An Apjjarition — Norah Uelpless in the Mesh — 

INTENSE EXCITEMENT AND AN UNEXPECTED CLIMAX. 

ACT IV. 

Scene I.— THE HAWTHORNS, as hefdce. 

A May Morning — Bridget and the Shoneen— The Wreath of Orange Blossoms — An 

Approaching Marriage — A Mourning Bride— Eileen in Despair — 

Her only solace now the thought that 

DARK'S THE HOUR BEFORE THE DAWN. 

Scene II.— LOFTUS HALL. 

The Forecast of Retribution— The Proclamation— Lottus pressed to play the part 
of Bridegroom— Maclean on the AVing — The-^lip 'Twixt Cup and Lip. 

Scene III.— THE IIA WTUORNS. 

Wedding Bells— The Bridegroom Comes— Delay— An Unexpected Guest— Surprise- 

ful, and, it is to be hoped. Satisfactory Denouement. 

[For Synopsis seepages 43 and 44.] 



EILEEN OGE. 



ACT I. 

SCENE I. — The Jlawthorn'/t Farm ami View of BlacJc Abbey Ruins^ in 
f>t'i grooves, by early sunrise. Music, piano. 

Enter Bridget Maguire from housc^ l. She sweeps l. side with a broom. 
Enter John Thomas, l. u. e. lie comes down steps to the stage, and down c. 

Joiix {speahing like a cockney). Ho ! Miss Mag-wire, I 'ope I sees yoM 
well. 

Bridget {sharply). If )'ou can' I tlirust ycr oi-soight, ye had betthcr 
put oil specLicles ! {sweeping so that Johx has to move about to dvoid the 
dust. ) 

John (sn-'czing and coughing). Ahem ! spectacles ! No ! I 'ave no 
h'inclinaliou to li'advertise myself as an li'old man when I've no need 
to wear 'em. My h'uuaided wisiou is h'araply sufficient. Yes, you look 
all riuht. 

Bridg. Sure, ye wouldn't have me luk all wrong, w'u'd ye ? 

Joii.v. Decidedly not. But is Miss Eileen up ? for I am sent by Mr. 
Lofius Junior, Mr. 'Enry Loftus of tlie 'AH, witli his complimints to her, 
and to say tliat if she is in the humor for a drive, he will call for ker to 
g ve her an airing. 

Bridg. Indade ? Sure, I'll not trouble mesilf to put Miss Eileen out 
o' liniper on tliis day of days for any wan, and much less Mr. Loftus. 
Ye can tell him that she'll bo betthcr engaged in a most interesting con- 
versation wid her husband. 

JoHX {astomshei). 'Er'usband! Why, she's not married. 

BuiDG. Nhc's not, not yit, but she will be. coming elivin o'clock. 

Joiix. My master will be h'aslonished ! And uho is to be tlie 'appy 
mail ? 

Bkidg. a betther man than ever stepped in your master's shoes. Mr, 
Pittiiek O'Donnell and no less. 

Joiix. 1 'oj^e you haven't tlie same h'objections for the merits of your 
humble servant, {bows ) 

r»i!iDG. Tiolh, I've not. 

JoHX I'm delighted to 'ear it. 

Bridg Fi^r I iiiver saw any merits in ye at all at all! {goes up sweep- 
ing.) 

Jonx. 01), 'ow can you remain h'insensible to the h'earnestnesa of my 
feeiiniis. Ho, Miss Maguire ! I adore you I 

BuiDG {laughs). Ha, ha, ha! 



g EILEEN OGE. 

John. I can't 'elp it. I must tell you of the state of my h'affections. 
I 'ope to have the fleece-a-city to lead you to the 'igh-inenial h'altar. 

Bridg. Kape the rope to h.mg yersilf, for ye'Il niver h'alter me. 

John. I 'ad 'opeii to become your 'usbaud, wheu my master should 
have got married to Miss Eileen. 

Bridg. Faith, I might liave given you that promise, and not be afraid 
that youM ever be the betther for it. And now tlie chance is smaller 
than ever, if it ever were a chance at all. 

John. Well, if you won't deliver my messages I'll enter the cottage, 
and ask for myself, {goes l. when Biudget Tcnockx his hat off wth her 
broom. ) 

Bridg. Is it inter before the family is up ! Oh, no, you don't, Misler 
Impidince ! (flourishes broom and makes John retire, r.) not as long as 
Bridget Maguire can handle a broom. I've a great mind to dust yer 
jacket. 

John (picks up his hat). Oh, Miss Maguire, be content with the wounds 
you have h' inflicted on my heart, and don't compel me to bring an ac- 
tion for assault h' against the h'object of my regard ! If 1 'ave h' offended 
you (spreads his handkerchief c, and kneels) see! I h'apologize on my 
knees. 

Bridg. What ye got on'y sarved ye roiglit. (l. o.) 

John. I could remain 'ere forhever on my knce.^, if I thought it would 
soften your 'eart ! 

Bridg. I'm afeard that instid of softening your heart, it is more loike 
to iiarden the caps of yer knees. 

John. Do you doubt me ? 

Bridg. Well, try it for a quarter of an hour. Sure y'ere looking that 
foolish alriddy that I c< uld pity ye. 

John. Pity ! pity is akiu to love, they say. She is beginning to relent. 

Mttsie, a raHling Irish air, such as '* Paddy Carey,' " Paddy is the Boy," 
etc., to be always played for the enhances and exits of Bryan O'Far- 
RELL. Enter, L. u. E., Bryan O'Farrell. Hf viands tip c, looking 
forward for a moment, and then comes down c. to John. 

Bryan. Hilli-oh ! (John turns end sees him) Here's a frontispiece. Is 
it making the last conlet^sion an' daying spaciie of the first man con- 
demned for the murder of the Qiiane's English ?• Is it reharsing ye arel 
Sure, ye can't be bettiier employed than in making a dacint iud to your 
life. 

John (rising). He's always h'interrupting — cuss hira. 

Bkyan, Is it a blessing in English ye're wishing me. Sure, ye sh'u'd 
iix ft>r t)iie for yersilf — I don't know any one that wants it more. 

John. The low-bred Irish boor! {I'ffdy gov/g up c.) You'll please take 
my message to Miss Eileen, fur I 'ale to breathe the same h'atmosphere 
as some h'obnoxious h'insects. (up c.) 

Bridg. Won't ye lave us a lock o' yer hair ? 

John. If you really wish one. (Bridget nods) I'll send it by post. 

I'.RiDG. Tliank you. 

John. Now I'll take myself h'ofF. 

Bryan. Well, ye needn't make a boast of it. It's not much you'll be 
taking anybody. 

John (^astde.) A low h'ignorant h'Irishman ! (on platform up c.) Adoo, 
Miss Mag-wire ! No, it's not adoo. 

Bridg. No? (up l. c.) 

John. No ! its o-river ! {goes l. u. e.) 0-river I (lifts his hat and exit l. 

U. E.) 



ACT I. 



9 



Bridg, Tlie poor lad! Sure becase I rejected him, he's going to the 
river to drown himself. 

Brvan. Not liim ! He hasn't the pluck to do it. Though it would 
be an act of chanty to tlie rist of his fellow cratures to be rid of him 
auyway. 

Bridg. He lool<ed most melancholy ! 

Bryan. Nonsense! he was oii'y joking. But what was the Shoneen 
doin' down on his knee- — did ye knock him down witli a body blow ? 

BuiDG. He was golu' in before the family was up, whether I w'u'd or 
no. 

Bryax. The baste! So you bring him down wid a clip ? 

Bridg. No, he kneeled to ax me i)ar(ion {puts broom l.) 

Buyan. Oh! the darimt that ye were to make him do that. (Jie and 
Bridget come front, he on her right) No doubt ye had a good raisin. 

Bridg. I have a good raisin I v everything I do. 

Bryax. Divil a doubt ! Tliere's a good r isin /or thi*. {kisses h^r.) 

BuiOG. Well, I like yer impu<lence ! (Bryan tries to kiss her again.) 

Brvan. 1 know you do! Tliai's a good laisin for another ! 

Bridg. Stop! Miss Eileen may be luking. [points to upper window of 
house L. 3 E. s(i.) 

Bryan. Slie sli'u'd make an allowance on a morning likt; this. If it's 
true tluu, what I heerd. Is it? ( Bridg kt WJfi?*) it is? {bf comes S'ul and 
speaku in a f^ortowfal tone) Poor Palriek O'Donnell I after keepinir com- 
pany so long, she has jilted him at last. And s-he's goin' to be married 
to some one else this day. (BiaDOET expresses surprise) Well, winiin au' 
pigs bates the wurruld ! 

Bridg. Where have ye been that ye have not attinded chapel for the 
last three months? 

Bryan. Sure I have been in chapel — but not in this parish. I have 
been about the countr}', making hay. What would I have seen if I had 
been here ? 

BiaDG. The banns — nut up for the union of Miss Eileen wid her own 
one irue sweetlieait, Patrick O Doimeil. 

Bryan {in delight). Is it true what ye say? Thin what is the manin' 
of it, at all, at ali ? 

BuiDG. Of what? I don't know. 

Bryan. Last night whin I come home, of coorse the first fiiend I wint 
to Was Patrick, by raisin of our fostering togetiier. There was no one 
in but tile old l.>orreen, his mother, and the girl — his sister 

Bridg. Oli, Miss Norali is staying here with Miss Eileen. 

Bryan Thin I wint out an' lound him in the haggart, lookin' as pale 
as a liandful of bleached straw or deatli — wid two letthers before him, 
one open, anil the otiier shut, as if he hadn't the couraue to open the 
second af.er being stricken so hard wid the first. Divil a word did he 
.•iiiy, save a sigh; an' whin I axed him what was wrong, the tears would 
come, and burst out between his fingers — an' he tuk me hand and press- 
ed it hard, burst out a-weepin', and wint away intil the house. I foilow- 
eii, but tiie girl tould me he was with his mother, who was doinir her 
be>t to comfort him So I come away, a-wondering what was theman- 
iii' of it all. 

Bridg. That I can't tell, unless he were playin' a <rame. 

Bryan. No, it was no game. 'Sh ! he is cumin' this way. (music, sad^ 
piano. ) 

Bridg. {looking up nni off •&. u. e.). How sad and down-hearted he does 
look — he's never cumin' to the wedding in that dress. 

Music, same, a little louder. Enter Patrick O'Donnell, r. u. e., dowly and 
scLdly. He comes down a, d. 



10 EILEEN OGE. 

O'DoNXRLL. Good mortiing to you, Bryan — and yon, Bridget. 

Bi.'iDG. The same to you —and many of tliem — but it is not like to be 
anylliiiiii- but a liood day to you, an' a betther morrow. 

b'Uox. No doui>t. {aside) Heaven forgive me for that lie! {'ilnwi) Mr. 
Moriariy — is he t-tirrinu" so early? 

Bridg. No, sii'. Seeing as there will be a dance on tlie flure to-niirht, 
be i? making a long lie of it Ibis moruing. Of coorse, (xli/li/) you wouUlnt 
s^et- ///e i-thn- yet ? (l C.) 

O'Dox NoLyet. I am going to tbe chapel to see Ftlier Maboney — 
Don't let him go onl witbout sec-ing m<*. It is importaut. (o.) 

Bryan (r c). WiiaL's the mattber, Patrick? 

O Dox. Nothitig, nothing, my good Bryan. 

Bryan {asid''). I never saw a man on whom nothing had such an cf- 
fec'. It's seldom it troubles me that way. 

ODoN. {aw^s par el to Bridget). Give Ihut to her — it is — for Eileeu. 

Bridg. A.nd shan't I say it comes wid yer love ? 

O'DoN. Do ! {oniinaie'lly^ bat s"(tli/) witii my best undying love— the 
love of all my bfeart. (^inustc, " Love's Young dream," pi>ino.) 

Bryan. He don't look in the la^te like a happy lover. 

Eileen opms tvwloic in tipper ."t'ny of house aud Ican^ out. O'Donnell 
(/oes t> he- en I ki^s'S )<er hnl. He si/Jis aud exits, r. u. e., sully. 
Eileen biotvs a hiss cftcr him and 7et(ns, dosiny window. Ciase muse. 

Well, that bm-^s Bmngher, and all the world knows that Banu^ber bangs 
the divil ! What's the meaning of it, though ? 

Bi:iDG. Oh, it's ony he's bothered wiJ love. 

Bi;yax. No, it's more than that! Didn't ye hear him tell me that he 
was going to the praste ? 

Bridg. To returu thanks beforehand for the blissin' he is about to re- 
saivL*. 

Bryan. Well, there are two opinions about whether a wife is a blissin' 
or not. • 

Bridg. Faith, if ye have doubts, ye are likely long to continue wid 
tbim, lor no one will iver take the trouble to undecaivo ye, uu' that's 
one eo nfort, for ye are loike to live and d.e a bachelor. 

BuYAN. Sooner than be so hard upon you, I'd make a sacrifice of 
mysiir an' marry you. 

BuiDG. Before I'd do that, I'd live to be as ould a^ Methusalem, and 
thin die a nuiid. 

BitYAN. So ye m'ght — for it's not much of a husband ye'd get if ye 
lived to be so ow-owld ! 

BniDG. Sure y • know what I mane? 

Bryan. That I do ; you d marry an omadhawn like me! What is that? 
\tiying to kiis her.) 

MoRiARTY^ enters from house. < 

MnniAi^TY. Bridii^i't, whose voic did I hear just now? 

B IDG i^a^ide to Bryan). Oli wb.it 1 ntr ears he has got! 

r>i:Y.\N {aside to Bridget). It's hoping he's not overlieard what I was 
sav'iiLi- jis' now. 

.Mori T'nere w is some owe liere, I know. 

Bridg It was Mr O'-Donnell come to sec you. 

Mom. Patrick— so early. What can ti.at i>e for ? I knew I heard 
some one, but I was iliessiiiii- and cou'd not come down. 

B:uD ;. You'll ki.nw very soon, sir, for yi.nde.- becomes aud Father 
Wa!:i.u< V with him. 



ACT I. 11 

MoRT. Wliat docs it mean ? 

Bryant {aside). That's what I'm dyiuij to kn»\v ! Here, Bridget, lets 
get out of tlie way ! [J^xit with Buidget, r. 3. e. 

U/iter, R. u. E., Father Mahoxey and O'Donnell. Thep tome down froni.^ 

M Ri. {s-d'iting). Good moniing, Father Mahoiiey, aud my service to 
your reverence. 

Mahoxry. Good morning. 

Mori. Good moruiug, PatricR via hocnl — wliat bri.;gs you here so 
early ^ 

O'Donnell. Good morninsr, sir. and hedtli and all hapjiines*^ to you 
and iiil inside your doors Wluitever is said, know in the first place tinit 
I wished all i^ood to von aud yours, (nukts a sign fur Mahoney lo spenk ) 

RIaho. Aheui ! Mr. Moii.irty, uiien you agreed to give your d.iuuiiter 
to tiiis decent boy, tijis gtxjd young nuin — for Ire is a good young nvAii — 
you l>elieved tluit he was ihriv ng and well to d<>, and niiyiit reasonably 
expect a renewal of his lease, because he had never been behindhand in 
his lent — and so could keep )iis wife in a comfortable state. 

Moui. Aud was I deceived ? 

Enter Bryan and BridgjEt, r 3 e., wher-e they stand listening. 

Maho. No! when he said what he did, he had no reason to be afraid 
of tlie future. Tliere was nothing to belie liis hopes until yesterday af- 
ternoon, when he was told that he must not expect a new lease on its 
expiration, which will occur in a few ^hiys. (Bridget and Bryan express 
griff ond surprise) All that was bright with him is clouded now. 

Bryan. Poor feUow! no wonder liis heart was in his mouth! 

O'DoN. Thank you, father. If it had not been for you, I must surely 
have broken down. 

Bryan [iside). And this was to be his wedding morning! 

Maho. Although the banns have been pubii.-hed in course and your 
consent duly obtained, so that even your withdrawal now would not de- 
lay the marriage, nevertheless, like the honest fellow he is, he spent tha 
night in prayers for strength to do his duty — a good young man, my 
pupil, I am proud to say -and has now come to leave it to you, to 
break off the match, or, let it proceed, as I hope you will out of respect 
for his honest good faith. 

Bryan (to Bridget nsile). Sure he can't do less ! 

Maho. Don't think that I advised him. He did it all of himself. He 
was going alone to spealc to you, but in the fear that he might break 
down, he asked me to go with him — I who have been his teacher in 
Christian duly — to see him do what was ri;:ht. 

O'DoN. Witli love for E leen, my heart is heavy, Mr, Moriarty. but af- 
fection even ?uch as our- should hardly sway your judgment. You will 
do what, i- inst, sir — but you do not speak, Air. M -riarty ! 

Maiio Buty.-u will s> eak. and kindly, too, I m;d<e i>o doubt. 

Mori P. trick, I feel for yo^i— dut there aieotlieis lo b.- c Ui^ulted — 
I must see mv dauglit' r hefure I answer. Wait a few ininul«-> tid t have 
lo.ilerr.'d with her. I sliidl not lirtaiu you lou'j: ^Exd ino h'/nse, L. 

(ri)ox. In iliose few minutes, I shall UnovV my fute. 

Brid^. (^0 Bryan). Sure, it's all light as long as he laves it to Mi.«s 
Eileen. 

O'DoxKELL. Mahoney. Moriarty. 

R. c. c. L. c. 



12 EILEEN OGE. 

Bryan (to Bridget). I don't know about that ; women are always such 
fickle cratures 

Maho {to O'Donnell). You know well what his daughter will urire. 
At the worst, you will only have to begin life again. You are a young 
man. and it will not be long before yoii are settled on another farm 

O'Dox That may be a long time, father, and hope deferred niaketh the 
heart iick. But I shall not complain if he does not let his daughter 
marry with a ruined man, than which I am little better. Besides 1 have 
a mother and a slater to provide for, and it may be along dark time before 
I tind a new home. 

Maho. Have more faith in the illimitable goodness of Heaven — whose 
sunshine falls even on the worst of human being? — and whose beneficent 
wisdom seldom suffers the honest man to dwell long in misery. 

Bryax [comes down). Speak out bowldly, Patrick ma boca! — I ax yer 
pardon, yer rivirince. ((a/ces of Ins hat) Until ye find anew farm come 
an' make yersilf wilcome at my cabin; we'll find room for your mother 
and siste , and you shall stay there as long as there's a cake to break or 
a handful of straw, or a pratie to put in the kettle — while I'll be lookiu' 
up bits of haymakiu' in the country. 

O'BoN. (shakes Bryan's lumd). Thanks, Bryan ; my mother and sister 
will thank you, and accept your offer as freely as it is made. 

Music. Enter Eileen and Moriarty, from housCj l.* 

O'DoN. Eileen! 

Mori. Speak, Patrick. 

Eileen. Thy blessing, father, (kneels to Mahoney.) 

Maho. May Heaven bless thee, my child ! 

EiL. (rises). What is wrong, father? 

Mori. (/?ot«<s to O'Donnell). That honest fellow will tell you. Mr. 
O'Donnell, tell her all — I give you free permission. 

O'DoN. Eileen, I come to you with grief— for all that I hoped to pre 
sent to you in making you my wife is swept away. 

Eileen. I should love you ail the same though we were without a 
shilling in the world, [embraces O'Donnell. 'Qryw embraces Bkidgkt, r. 
side^ up) If we had been married when the bad news came, should 1 love 
you less? What do I care for the world — it is (mly for you, and it is 
my plain duly to nutke your path pleasant with comfort aud devotion. 
Let the reverend father spe.ik. 

Maho. Mr. Moriarty, 1 see you feel for these poor young creatures, 
and will not have the heart to separate ihem whom Heaven has united. 

Moiii. Right ! I have thought they were destined for each other all 
along, (shakes O'Donnbll's /i"«rf) I only tried you, Pairick, for I always 
meant you to have Eileen. The dower which I shall give her will be a 
bonus to get the lease for a new farm. Until then, make my house your 
liome. ^owgo and drees yourself, and come with your best man, your 
family and following. Eileen will be ready to be conducted to the church. 
(All form picture. Eileen fl7/</ O'Donnell ^wji/-«cc. Mahoney C(/«y/«<M- 
lates Moriarty. Bryan dunces joyj'ul.y.) 

BuYAN. Bridget. O'Donnell. Eileen. Mahoney. Moriarity. 
R. c. L. 

Jfiis c, livch/. Scene closes in. 

*.MAnoNi.Y. Bra'AN. Bridget. 

O'Lonnkll. Eileen. Mori.\uty. 

R C C. L. C. L,. 



ACT I. 13 

SCENE II. — Roadside, with trees, in \st grooves. Music, a few bars of an 
English milUary march {always played to Loftus's entrances and exits.) 

Enter ^ l., Mr. Maclean and Mr. Henry Loftus. 

LoFTus. You must first tell me why you have not kept your promise to 
prevent the marriiige with that peasant. The first tUiug 1 learn on my 
return is that O'Donnell is to wed Eileen Moriaity. 

Maclean {xpeakiug with strong Scotch accent). Indeed, I said so, and I've 
tried to keep ma word. 

Loft. Yet the marriage is to take place this day. 

Mac. It was so announced, but I doo't that it will happen. 

Loft. I tell you that one of my servants Avent over to .Moriarty's to 
deliver a message, and was told that it would take place at eleven o'clock. 

Mac. Eleven ! That's short notice, but I will keep ma word. O'Don- 
nell received his notice to quit, coupled with a threat of eviction, bust 
iiight,^and I couldna ha' thought that he would be in a humor to marry 
this morning. But if it's certain, I know what I must do. 

Loft. Maclean, you have made a mistake, as the cautious Scot is sure 
to do when dealing with the impetuous Iriahmari. 

Mac. Weel, a-weel, I ha' ma precautions taken, {calls off k.) Tim! 
come here, Tim ! 

Voice of Tim the Penman {off r.). Yis, sor ! 

Enter Tim the Penman, r. ; he hops like a gigantic magpie^ with his long 
coat-tails Jl'ippiiig^ etc, 

Mac. Bring me the letters. 

Tim. Here they are, sor. {gives letters to Maclean.) 

Mac. i^ivcs letters to Loftus). Examine this and then look at the other, 
and -ay if the hand-writing is familiar.* 

Loft. They are both by the same pen. 

Tim {chuckles and rubs his hands, hopping up in delight. Aside). Ah ! 
Tim, iL's the iligant pinraan ye are ! but the divil's own child ! 

[Hips of, R 

Mac No ; that's from Patrick O'Donnell, written to your uncle, beg- 
ging him to forego his intention to refuse a new lease, in consideration of 
the lKU\K-hip, the improvements and expenditures incurred in the ex- 
pectati.'ii of a renewal. 

Loft. And this other? {gives both to Maclkan.) 

Mac. (tvatc/nng Loftus as he spp'tks). This is a threatening letter appar- 
ently by the same hand, to the same party, which — but you had better 
read it. 

Loft, {reads letter). " Lionel Loftus, Esquire, you have dared to threa- 
ten injustice to a deserving tenant, after having before made yourr-elf 
prominent in the same exploits. You h;ive given noiiec to quit to Pal- 
rick O'Donnell and threaten to takQ his house over his head. Know, 
then, that if you touch a straw in his thatch, or a sod of iiis tuif, the 
measure of your crime will be full to overflowing, and you tball sup 
forrow. Take warning that you will be siiot from beiiiud hill or from 
hollow, and your brains scattered to the four winds as a red vengeance to 
O'Donnell. From your judge and executioner. Signed, Terry Alt." 
Did O'Donnell write this ? 

Mac. {ties letter, emphatically). An affidavit will be filed, saying that 

♦Tim. Maclean. Loftus. 

B. O. "^ L. C. 



14 EILEEN OGE. 

it is apparently in his liand. I doo't not tliat it will go hard with him. 
It will be transportation, if he is convicted. 

Loft. Tlie very tliini^. 

Mac Aye, :iny way to get rid of a rival. Is it to be done ? 

Loft. If it will come to puss as yuu assert. Olherwjbe it would be 
pure y wanton and ciuel. 

Mac. It canna' f.iil! To avoid any suspicion of collusion, yoii should 
go bif M-e, and delav liie ceriMiioiiy by making a civil tpcecli. 

J>OFT. Tlhit would be a difficult matter. 

Mac. a body niun' look one thing while he is saying anothei-, if he 
wouid i;et licli in this wo. 'Id — all the more when it is to cru^h nn enemy, 
which a rival al ways is. lEzil, r. Loftus exits l. 

Scene changes to 

SCENE \ll.— Same as Scene I. 

Discover Bryan and Bridget, coming down, a. 

Bryan. Well, there's no denying it; Mr. Moriarty has behaved hand- 
somely to Piitrick and Miss Eileen. But why has Mr. Loftus been so 
caifer to get rid of a good tenant like O'Douuell — why should he give 
him notice to quit ? 

Bridg. Oh, its some neighbor. 

Bryan. No; no neiirhbor would try to take his house over his head. 
Sure, he'd know that the boys would make it too warm for him. 

Bridg. But Patrick wouldn't let any harm come to them for that. 

Bryan. Airali, ain't that the very raisin the boys would do it for him 
— beciise he wouldn't do it himsilf. 

Bkidg. You talk as if you were one of thim. 

Bryan. Is it me? I'm only a poor innocent crature. Is it me eif. 
mes.lf up in opposition to the police! Sure I ou'y pick up the little I 
know whin I go about the country. 

Bkidg. Moiud that ye dou't know too much, or you may get into 
trouble wid yer knowledge. 

Bryan. True for ye ! Tis, it's wan thing to be cute an' another 
to have a dale o' knowleilge. Oh, there must be some mane spoit at 
the bottom of it all. I can't belave it's Mr. Loftus's doin's at all — but 
the notice come from the Scotch middleman, Macleau — the curse of 
Crummle on him an' all his tribe ! 

Bridg. Thin he should apply to the landlord. 

Bryan. No ! it w'u'd be no use — he wouldn't disown his agent! It 
w'u'd be bettlier to try the you-ig muster. 

Bridg. Mr. Henry ? oh, no u^e — that would be worse than the other. 
Don't you know that he was m iking love to Miss Eileen. 

Bryan. An' O'Donnell cut him out. True for you its a troublesome 
bu-iiu!>.-. No man ever forg.vcs the boy that puis his uo^e out of joint 
uid a in-eltv girl. 

Bridg. It may have made him nn i;.imy! 

Bra'AX. Very likely. I have had a da.e of inimics mes.lf since. 

Bi;lDG. Since wliin ? 

Bryan. Si ce it uot to be known that you preferred me- to any wan 
eljBc y {iriis to kiss Biudget.) 

BuiDG. Be otf wid ye ! 

Bryan. Now, don't ye show yc? timper — sure, we're not married yit. 
{they go up L. side. Music, '* Haste to the wedding," piano.) Sure, here 



ACT I. 15 

comes the wedcUn' party, an' I haven't a favor ! Troth, this will do as 
well, (t kes sprig of haidhorn blossom from !<et r. and puts it in his coat ) 
Bridg. I'll go ill an' tell them to l)e ready ! 

[Exit mlo liouse. Music, fame, forte. 

Enter, v.. 3 e., O'Donxfll, Mrs O'Donnell, Nolan, O'Beirne, and Fau- 
MERS ml their \i\\v.9> ami Daughters. T^ny form line r., Bryax 
sliakis Jiands tvih No_an t:nd O'Beiune, a!l look ptensant an I chat nur- 
rilij. 

O'DoxNELL (brings )sl &. O'Donnell n little foncnrd, R.). Mother, when 
hou>c iiiid home and evciything is iii jeopurdy, it's a bad time to add to 
the moiitiis to be fetl, y t I jiive you now another daii^hk*r. 

Mrs. O D. I i ave long loved Edeen, and know her to be a pood pirl. 
I i^hallonly be too proud and happy to clasp her to a mother's heart. 
{^iniisic " Norah Creina.") 

Bryan. Here'd Mi:?s Norah ! 

Enter Norah from house, l. 

Norah (embracing he>- mofher). Good mother and friends, we aslc par- 
don for delaying' y"U, but we eliall keep you but a liitle while. Eileen 
is dressed, and looking: s«o lovely. Now I'll go in and you can knock. 
Ijgoes L.) Don't think that you h;ive seen me yet. 

[^Exit L., in house. 

Bryan {qntcldg). Arrnh ! who ivcr forgot the sight av uii uugel ! (all 
laugh. 3fusic as before to Loftus' entrance.) 

Inter Loftus, l. u. e , he stands c. on platform looking down on the wedding 

party. 

Loftus (tv th affected hgh'ncssof tone). Ah ! A goodly assembly ! And 
wediiing favors, too ! '1 hen report for once has not spoken falsel)'. 
{comes down c.) May I ask who is the" happy morial. (O'Donnell steps 
forward to R. c, tine of 1st e.) 

Bryan (up l. c, hue of 2d e,, aside). There, I niver thought it was so 
aisy to f^ay one tiling an' luk anotiier. 

O'D. I am proud to say I am the favored individual. 

Loft. Ah ! In consideration of our former friendship, I must say that 
T think you might have invited me. 

O'D. I might, but 1 did not think that you would care to come to the 
ceremony. 

Loft. Because I once thought to stand in the place you now occupy. 
Well I own thit I envy you ycnir good foi tune, but I must say that you 
h ive fairly won the lady. I l)par no niaiice, and wish you all the hap- 
l)ines.s I know you deserve, (fff'rs hi^ ha-d.) 

0"D. Tlia 's manfully spoken ! {sh"lrs Loftus' h^nd.) 

Loft So will you pern. it me t> < filer yoi r bride elect t' is jcwel'xl 
brooeli ? (shows brooch) it is an antique uf v;due, long an heirloom in i ur 
f.unilv. 

O'D. (draws hnck his hand). Your pardon. If Eileen will accept it, I 
sh:ill oflf^-r no denial, [music.) 

Norah (appears at window in house l). Patrick, wo are all ready ! 

[Exit. 



16 EILEEN OGE. 

NoLAx and O'Beirxe go to how- e door, '^olas knods. Enter Bridget 
from house, rimaiuing by t.ie door.^ 

NoLAx. Is not this the house where lives Mr. Thaddeus Moriarty and 
his tliiUi;litfr, Miss Eileen Moriarty ? 

BiiiDG. Of course he does, Mr. Nolan, and you know it very well. Oh ! 
I foriiot! that's a bit of tlie play ! {"llliugh, but not loudly,) 

O'B. Are they at home ? 

Lridg. Yls, to a dacint boy lilce you ! {oil laugh ) 

KoLAX. Will you please to tell him that Mr. Patrick O'Donnell hag 
come with his best man, his family, friends and following, to ei^cort his 
daughter to church, there to be united to him in tue holy boudsof wed- 
lock. 

Bridg. Oh ! I can't say all that ! 

NoLAX {smiling). Am I to repeat it? 

Bryan. No. sir, you nadent ! she has had it by heart since lonj^ airo. 
{all I High. Ejcit Bridget in'o house, l.) It's a moighty iligaut custom, and 
wau that ivery young woman sh'u'd know sooner or late ! {music.) 

Enter from house, l., Moriarty, Eileex, Norah, Bridget, Bridesmaids, ftc^ 
O DoyyELL goes to Eileen a/id whispers lo h:r. Loftus yoes to Eileen 
Cease viusic* 

Eileen '[curtseys to Loftus). Your pardon, but I cannot accept any- 
thing h-om any one, and much less from a stranger, on ray way to the 
church. On my return I will ask my husband to permit the acceptance. 

Bryan {<iside). Hurroo ! that's the darling! If she liad tuk it, it would 
have b. en a token of bitter bad luck ! 

O D. So, sir, you must keep it. {Kih^v.y taJcc% his arm, Miis. O'Donnell 
that of Moriarty, i:nd the others umilarly pairing off, all form procession 
and go tip r. side. Music, forte.) 

Enter, l. u. e., on the platform, Police Officer, Police with carbines, and 

Maclean. 

Maclean. Mr. Officer, there's your man ! {points to O'Donnell. iJfl.Y 
of small drum, cnscendo to forte, ending with be t of big drum. Ceae mu ic. 
The giusti disperse a d gnnip r. nde. Eileen, Moriarty, and Brides- 
maid-^, L. s de. ODonnell ff»rf Loftus, r c., Ukyan mid Bridget, l) 

Police Officer. Is your name Patrick O'Doiaiell ? 

D. Yes, it is. 1 have never done anything to be ashamed to deny 
it! 

Bryan. Spoken like a man. 

O'D. What is the me.ining of tiiis outrage ? 

Officer. You know well enough. 

O'D. 1 know nothing. 

Officer. It is my duty to arrest you. [comes down a little, r. c.) 

All. Arrest ! 





♦Guests. Loftu>. Brva.v. 






Mrs. O'Donnell. Nolan. O'Beirne. Bridget, 






Donnell. 






B. C. L. 


W 


BJ 


*LoFTDS, EilEFN, ODoNNELTi. 


2 

"3 




Nolan, O'Beirne, Bry.\n, Bridget 


s 


S 


Mrs. O'Donnell, Moriarty. 


is 


o 


R. R. 0. 0. L. 0. L. 


P 



ACT I. 



17 



Officer. Yes — this is not the place to explaui what you doubtless 
•well know already. 

O'D. By what right do you come here to interrupt our gathering? 
I yieUl in respect to law to no man, but you must not presume on tno 
color and cut of your coat to interfere with men who are ignorant of what 
offence tliey are charged. 

Bryan. That's right! Sticic to it— we'll support you. {the Guests 
prepare to (hfend O'Doxnell.) 

Officer {retiring up r. )• Make re:idy ! {the Police ring their ramrods 
in iheir carbines to show that tliey are loaded ) 

Loft. I pray you to Avaive the etiquette of your office, and in common 
justice let this gentleman know by whom and of what he is accused. 

Officer. Very well, sir. He is charged with having sent a threaten- 
ing letter to your uncle, and the charge is amply supported by sworn 
affidavits to confirm the grounds of the case. 

O'D. I never wrote such a letter. 

Officer. If you have not written it — so far well— but you will find that 
difficult to prove. 

O'D, I did write a letter 

All. A\\ ! 

O'D. But it was in respectful though earnest terms, and only asked 
for my cl.iims for renewal of lease to be calmly considered. 

Officer. Th.is was not such a one, but breathing of fire and flame— it 
was a most blood thirsty ejjistle I 

O'D. Then it never came from me— I swear that I thought no such 
words, nor have such come from under my pen ! 

MoRL Patrick, can yon lay your hand upon your heart, and swear that ? 

O'D. I can, and do, as I look to Heaven for mercy ! 

Officer. 1 must do my duty. 

MoRL You need not be so 'hasty. Give us time, and we will find sub- 
stantial bail. Dou't 1 for it will break the heart (»f his mother and sister, 
and of this poor girl, my dauglitcr. who was about, tiiis hour, to become 
his wife. ( Nou ah co;«/wWs Mrs. O'Donnell, k. /•ont.) 

Eileen {proudly). Say, father, that 1 am his wife— in all that doth 
make a wife, thougii our union is not yet blessed by Heaven. Let my 
first act as a wife be to humble myself to itaplore you to have pity on me 
— No! I do not plead for myself, but for the sake of liis motluo-, do not 
deal too harshly with us. See here, on my knees, I ask for mercy ! 
{Jcneds, hut O'Donnell hfta her up.) 

Officer. I regret that it is not in my power to relieve yon. Sir, you 
must follow me! 

Bryan. No I {he, Nolan, O'Beirne wid other Guests, prepare to threw 
themselves beticcn the Police and O'Donnell.) 

Officer. Present! {the Police level thiir carbines, and Police Officer 
draws his catliss.) 

O'D. Hold! {he goes up, r. c ) Let no blood be shed on my account. 
I am innocent, but I submit to the law! It is a hard trial, but I will 
endeavor to bear it. If the hand of hate or spite has set this engine of 
thj law in motion to crush me — may it re-act on him — Heavt n never 
gives the wicked a triumph that is not in the end more bitter than de- 
feat. 

NoRAH, Oh, mother dear. 

D. Do not grieve, my mother. Trust in Heaven, as I do, that .my 
innocence will appear. It must appear. Meanwhile comfort the poor 
girl, who, in another hour, would have been my wife. Poor Eileen ! 
Farewell ! (Eileen clings to him up o. ) Should the malice of mine enemy 
triumph, and I be driven away from you — keep my memory warm in 



18 ErLlir.-V OGE. 

your heart — for when 1 rt't-ani, :is I shiill rciurn — iili ! take me awaj' ! 
y(»u have broken lier heart ! (Mouiarty t^kcs Eillex Jaitiiing. The \Vo- 
yi^'S weep. O'Do'syEi.L (/ivcs hiinsl/ to the Volice. AU form picture) Li- 
leeii ! Eileen ! (Eileen 7ev,vis, and uoidd rush to 0'Do>->-ell, but the Po- 
lice are between.) 

CURTAIN. Music 



ACT II. 
SCENE 1. — Ronm in Mr. Moriartts'Aoks^, in Zdgroovet. 
discover, seated at table, Moriarty and Mahoney. 

Mahonet. Mr, Moriarty, I have noticed for some time that trouble 
seems to be creeping upon you. If I am not able to do anything to 
help you, I owe you my sympathy in any distress. 

Mori. Tlismk you kindly, fatlier — but it is on account of my daughter, 
Eileen, slic is pining after her lover, Palriclc O'Donuell, who was trans- 
l)orted tive years agone. 

Maiio. Five year^ ? Can it. indeed, be so long. Yes, yes ! Poor boy ! 

Mori. Slie is in love with him ^till. 

Maho. And he witli her, no doubt, for if he is ulive he still loves her. 
But i> he alive? After three years, aecordini:- to his sentence, he was to 
be relea-^ed, but on condition only that lie should not return to his own 
country — that is, he is condemned to exile for life. 1 cannot blame 
those who, upon the circumst.mlial evidence, fouml him guilty, bul. I 
cannot believe but that he was as iiuioeent us he asserted himself. But 
we oui^ht to have had some word of him. 

Mori. Yes, it is slrauixe he has not written. 

Maho. But letters may miscarry, and indeed a man may be lost when 
bearing his own message home. 

Mori. And things have gone wrong with me, Mr. Mahoney, for some 
time pa=t, even within the last five years. 

Maho. How has that come about ? 

Mori. I hud invested my little savings in the BoUyshannon Railway, 
"whicli has come to a smash ; and not only have I lost all my money, but 
as one of the original share-holder?, whose names were used to procure 
others, I have been held answerable for the liabilities of the c )rapany. 
It is hard at ray time of life to have all lioi>e swept away of a provision 
for ray daughter, and to have to thiiik of beginning the world again at 
my age. 

Maho. I am sorry to lioar thi'^, Mr. Moriarty, but money is hardly 
needed as an inducement for your daughter's choice — she will yet be 
hiippy as the wife of ?ome honest man. 

Mori. Indeed, she has been sought for a long while by Mr. Henry Lof- 
tns, my 1 mdlord now .since the death of his uncle. I would'otlurwise 
have hardly dared to look tliat way for a match for my daughter. Now, 
if you weie to give her a word 

jMaiio. I am afraid I ought not to exerci-e my influence on his behalf. 

Mom. Indeed, in my present trou!)lcs liic chances of her being thus 
provided for seems nothing less than providential. 

Maho. Ali, Mr. Moriarty, when a path is pleasant to us, we are apt to 
consider it that of duty and the one pointed out to us by Providence. 
But I will see her. (rises.) 



ACT II. 19 

Mori. Thanks, {calls) Bridget! {rises, goes up l.) Bridget! She is iu 
the giirdt-n. 

Maiio. Never mind calling her. I'll go out and see her, and speak to 
her in quite a casual way. [Exi', n. 1 E. 

Mori, {to himnflf). Not but wliat I think, when ?hc looks at tlie matter 
fairiy, tiiat she will do what she can to save her old father fruni di.-graee. 

Enter Bridget, l. d. 

How can she refuse to be happy with a handsome young man, when she 
■will ride in her own carriage, and wear silks and satins each day. {to 
Br.iDGET, who comes down c.) That's a prospect that any young woman 
would be tempted by — don't you think so ? 

Bridget. I don't know, sir, I niver wor timpted in that way naesllf ! 
An' besoides, I am no crytirtion for Miss Eileen — sure, she's one in a 
thousand. 

Enter Bryax, l. d. He remains at hack. 

Mr Ri. You have a sweetheart — suppose he should go away from you 
-for five years and never write — iu fact, suppose you never had any tidings 
of him — what would you do? 

Brid }. {bashfuUi/), I don't know what I would do, sir. 

BitYAX {coming down)! Yes, she does, sir ! but don't ask her to confiss 
her wakeness. 

BuiDG. {to Bryax). Hould your tongue— you're not my father coufls- 
6or. 

Bryan. I am not, or your plnance wud be heavy. 

Bridg 1 am not Mrs. Bryan O'Farrell ! ^ 

Bryax. No — nor won'i be, but ye'll live next to him and his wife, and 
Bee what you've lost every day of your loif ! 

Bridg. Ye're an impident divil ! 

Bryax. Yis. {to Moriarty) Av ye plase, sor, I wor thinking that it 
wor toime to atiiud to the iu-getliii' of tlie hay. 

Mori. Aye, if you can manage to get men enouirh. 

Bryan Oh. I can get hands enouiih— sure all the hay-making is done 
in the light soils, and there's only that bit of stiff grass in the heavy bot- 
toms, {inysterioushj) Is>w the middleman Maclean yesterday taking stock 
of the li .y and admiring of it. It's to be hoped tliat ye have your rint 
ready, sir — or you may be getting notice to quit, like poor Patrick O'- 
Doiinell, five year ago — long life to him. 

Moui. The hint i^ worth acting on. It's better not to give the enemy 
a chan e. By ail means gtt it in. (ii., thinking.) 

Bryan. Bridget, you can come and give us a hand with the rake and 
hayfork -just to kape yer hand in aginst the b id times. 

Bridg. I will, if tne master w.U let nie. {eurtseys to Moriarty.) 

Mori. I have no objections. \^Exii, r. I e. 

Bridg. Belike there'll be a bit of a dance or a run after the hay is in 
— and so, mind ! don't let me catch you making Susie Maloue your part- 

Brya.v. Is it me ? with you to the fore 1 I have more r 'gard fir your 
iligant nails, and still more for my faytures — I don't wan't a srridiron to 
be njaile of niy face! {going 1o L, D.) But you needn't to fear — 1 wouldn't 
dance wid Susie Malone if there wasn't another girl iu the field. 

Bridg. Why not ? 

Bryan. Because she has got a swivel eye, and always takes the wrong 
turn. {Exit wih Bridget, l. d., quickly. Music, sad, piano. 



20 ^... . IIILEEX OGE. 



Hiitcr Eileen-, thought fully, r. 

Eileen. Patrick, ray darling, the time id long and weary, and you do 
not return. Ouglit I lo ijive tip my liopes tliut all will be set riglit, and 
your innocence be nuule nMnife^t to uitiii as I am sure it is in heaven. I 
can but doubt llie evidence that was u^ed against you on the trial, and 
yet sometimes I am afraid to reflect and weigli it- truth. I have tried 
to Target you, for my father's sake, but my heart still treasures your 
memory, whether you live to kuow it or not. 

Enter Mahoney, r 1 e. j 

Ah, father ! I wished to see you. my heart is ill at ease. 

MAnoNET. I know it,, my child. I am afraid that I can be of little as- 
sistance to you iu this emergency. 

Eileex. Surely you would noD have me break a vow — the promise 
wliicli I solemnly made to Patrick, (l c.) 

Maho. (c). No, ray child ! a vow made to Heaven, when there was no 
sinful end in the heart, must be kept as long as it has tlie approval of 
one's co:l^cience. But liive time to your consideration of it, and after 
prayer for Heaven's guidance, be firm iu fbilowiug what it bhail poiut 
out, {ff'^e- L.) 

EiLi.Ex. I will. Won't you give me your blessing, father ? {kneeling.) 

Maho. Heaven bLss you, my child, and send you comfort. 

[Exit, L. D. 

Eileen. Amen, amen ! for no one needs it more ! I am left face to 
face With my fate to decide iipou it now. 

Enter Mouiartv, sadly^ r. 

Father! why, what is the matter? 

MoKi. Mr. Macleaij has sent me notice of a distraint for rent! 

Eir-EKx. A distraint ! {cl"sps her hanis.) 

Mori, {/ets his hat mid c<me up c). i am going out. Good-bye, my 
cliild! (emhrnces Eileen) my dear, dear chihl ! 

Eileen. Dear, dear father! {exit Mouiautt, l. d.) This is the most 
cruel blow of all to my poor father — wiio u-ed to hold his liead so high 
among his neighbors ! It would seem to be the work of some malignant 
hand. And yet fatlier is not a man to make enemies. Nor was Patrick, 
and yet fome one was found to remove him by perjury. Oli ! for what 
moiive ? Oh, I cannot conceive tliat any one siiould be so base, and yet 
it has happened. Poor Patrck ! where are you now. if yet alive? My 
first and only love ! Somehow or other I can but attach faitli to tliat 
dream that I had the other niiiht — iu which I saw Patrick on a frag- 
ment of a wreck floating about iu tlie great ocean — was more a vision 
than a dream ! [gas half-tirn down) Alas ! if that were true, there can be 
little hope for me ! (s<Vs jw chnir l c. by table) If lie does not come — and 
I am still sought by Mr. Loftus 1 — oh ! — 

Gds down, and in the house near the proxceninm for the Picture at back to be 
effective, O'Donnell ready for ttbleau at back. 

How dark it has become of a sudden— and how thick the air has become ! 
{ris"$) There must be a storm coming on. {to b.) I have wearied myself 
with these restless nights, thinking of my poor absent lover, (clasps her 
hands) Heaven help bim and me ! (sits on sofa r.) Oh, how sleepy 1 feel 1 



ACT II. 21 

I will lie down, with the hope to rise more tranquil and refreshed to 
meet i;e\v sorrows, {lies chivn on sofa) Oli, Patrick, my first love — are you 
lost? no, no! \sleepily) Then why doe? he noi write? why not send — 
some — tolvcn 1 {sleeps.) 

Music, pi'ivo, " Slie i> fir from the land where her hero," etc. Dremn- 
tramparei cy at beck opens, c, and discover set sane, representaig a tropi- 
cal island iviih sea and sky, ff«rf O'Donnell. m f'liirt and iroustrs, hair 
rough, on a rock or spar of ship, looking out seaward eagerly. 

EiLEEX. Ah, he has escaped. He has been wrecked on an island in 
the Indian Ocean, where theie is no means of flight ! He is thinking 
of me ! poor fellow. All ! he sees — he sees a passing ship ! (O'Donnell 
rises and waves his neckerchief) Tliey do noi see him. He takes olf his iiedc- 
erchief and waves it as a signal ! They will pass and not see liim ! Oh ! 
Nay, his signal is answered! Tliey come to take him oflF! He falls on 
bis knees (O'Donnell kneels with clasped hands) io thank Heaven ! Let 
me do the same ! {close in the transparency, quick. Music, tremolo, on the 
stringed instruments.) 

Eileen [rises and f "Us on her knees). Oh, tliank Heaven, tliank Heaven ! 
{hoks ro.nd. In a voice of grif and b'tter disappointment) Oh, wliere am 
I ? 1 have been dreaming again — dreaming again ! {Music, a sustained 
chord.) 

Scene closes in. 

SCENE II. — Interior of office in 1st grooves, same as Scene IT., Act I. 

Gas up. 

Enter, l., Maclean and Loftus. Loftus has a riding-whip. 

Maclean. What is your order respecting Mr. Moriarty ? 

Loftus. Go on with the annoyances. 

Mac. I liave prepared for a distraint. 

Loft. That's ri-iht. 

Mac. About tlie leddie — does she consent ? 

Loft. Not yet; but even her iron will melt. You must proceed with 
the pressure. Make your levy on some of the produce of the outlying 
fields, {lauyhmy) Mind, you must expect me to disavow all knowkdge 
of your blunder, and to be round!}' abused for doing it. 

Mac. (grtimblingly). I get euo' curses from the others, the tenants, not 
to have to tak' damning from you. 

Loft. You can put it in the bill. I pay you well, sir. 

Mac. {aside). You don't know how weel. I tak' guid care that ye 
do! (R. c.) 

Loft. You have only to follow my instructions. 

£fiter Tim, r. 

Tim. I beg pardon, Mr. Maclean, but haven't you the fag-end of a job 
for me this day ? 

Mac. I liave not. 

1 1M Then it's the bright tin-shilling piece ye are goin' to let me have 
on acci»ur:t of the work ye ;.re goin' to give me, 1 am morti.il dliry, 

Mac. 1 am busy, I have notliiuii- for you to do. 

Tim. Arrah, ihin, you will give it to me. It will be an act of Chris- 
tian charity, be raisin of the drouth I am in. 

Mac. {angrily). I toid you before that I have nothing to give ybu. 



22 EILEEN OGE. 

Tim. Tou won't! Thin you had belther. {hops about r.) 

Loft. \^ lio is the fellow ? 

Mac. a discharaed clerk o' mine. 

Loft. It is stnnii^e liberty that you allow him. 

Tim Oho, Mr. Loftus ! Is it there ye are ? [comes to c. Maclean goes 
to R. c.) Ic's the goulden sovereign ye are goiu' to give me to drink yer 
heultli ! 

Loft. The fellow dares to Ptippose I would grant such a request ! 

Tim. Oh, you don't remimber! Well, someiimes it is convanient to 
foriiet. I'm the man that wrote that letter {pause; Loftus starts) 
Avhicii cleared yer path of your rivals. Now, won't you give me the 
money. Mr. Madean knows me well! 

Loft. I don't know or care to what you allude. Begone, or I'll lay 
m}' horsewhip across your back ! {mokes a cut at Tim, tvho hops out of the 
nay) If you dare to annoy me again I'll baud you over to the police. 
You impudent scoundrel ! hang you I {Exit, l., indignantlij. 

Tim {a)ig}y). The poHs ! to the polls ! hand me over to tlie polls ! {hfi 
pronoHucts the Wi.rd uith the second sydahle very short) Oh ! and ye had 
betther not, Mr. Henry Loftus, Esq-quire ! Don't you think so, Mr. 
Maclean ? {gots r. c.) 

Mac. {comes to c.>. Why not 7 It's little your word or mine would 
weigh iigainst his. Here, I have thought of a job for you. {tikes a pa- 
per from his breast cotrt pocket) 'lake two bailiffs and a file of police, and, 
with this w.irrant, levy on Mr. Moriarty's faim. There'll be two guineas 
for you when the job is cnmi)leted. 

Tim {delighted). Two guineas ! Oh, it will be drink for a week I I'll 
do it I Give me the warrant, [takes paper) I'll do it! Oh, whi.-key, 
you're me darlint ! an' it's goiu' to the divil I am for you ! an' I hope 
he has a good suj-ply when I meet you there. {Hops off, n. 

Mac. That fellow is getting dangerous, [goes r.) "Well, this enterprise 
is dangerous, and there's some hope of his getting knockit on the head. 
(r., at back, looks eff i.. Music, " Norah Crcina'') There's a good-look- 
ing lassie coming this way. 

Enter Norah, l. to c. 

Norah. I have heard the neighbars say that haymaking is easy work, 
and that any one can do it without practice. I shall be glad to earn a 
day's wages, for at my cousin's even that little will help. 

Mac. {comes fonvnrd). Good day. 

Norah [aside). That horrid man ! {tries to go r. Maclean pret><'«/« her.) 

Mac. Don't go ! I know that you have no reason to like me 

NonAH. I do not wish harm to any one. I only know that my poor 
brother was most foully wronged, and by some one. 

Mac. So I believe ! 

Norah. Do you ? Thank you for tliat ! {is again prevented going r by 
Macleax.) 

Mac. One moment ! {oside) She's a very pretty lassie, and if she were 
not Irish I might think of making a lelt-hand wife of her. 

Norah. Your manner alarms me. I am pressed for time. Let me 
go 

Mac. Nay ! Where have you been staying the past few y«irs. 

NoRAii. Willi my e<>u.sin<, the McGiiities. 

Mac. The MeGiiities ? Why, they must be as poor as you yourself. 

Norah. They are so, indeed — Heaven bless them the more lor their 
kiudue&s. 



ACT n. 



23 



Mac. The loss of your brither must have come sore to the hearts of 
you and your mither. 

NoRAH. Yes. 

Mai;. If you are in need o' money, there's way^ to eara it. Gie us a 
kiss. 

NoRAH. Sir! do you mean to insult me! (Maclean neizfs her hands.) 

]\1ac. llu re cauna' be niucli harm in Icissing a pretty lassie. There's 
na one b.v — I will ha' one ! {Music, forte.) 

Enter Mahoney, l. He crosse'i and sep'^mtes Maclean and Nouah, push- 
ing the former to L. 

Mahoni'Y (ifo Nouaii). Run away! {pxit Norah, r. Mahoney knocks 
Maclban doion with his cane as the latter rushes to follow Nouah) Leave 
me to deal with this ruffian ! 

Mac. {risrs on his elbow, as if stunned). The priest ! 

Maho. Yes. There are some occasions on whieii the church must be 
militant. This is one of them. 

Mac {ris s, trembling with rage and excitemmt). The clerg^yman ! Oil, 
this will look well when you are i>l:iced in the dock, charged with an 
uuwariaiitabie assault o,\\ tlie jierson of a leal subject. 

Maho. I t-ha 1 not look so ashamed of my position as the accuser, and 
I sliall receive more sympatliy. A t-iicpherd cannot be seen b Iter th n 
-when arraij^ned for defendi.ii;- tiie lambs of his flock fi'Oin the wolf! 
And now take my adv ce and don't lini!:er here, for if slie tells the boys 
in j'onder tiehl of your attempted oulraije, and tliey overtake you, it's 
not a bone unbroken tliat they vviil leave in your body ! 

Mac. She's likely enough, and they will be only too glad of the op- 
portunity to be even ! I'll gang awa'. [Exit, stillenlg, l. 

Maho. (c, laughing). It's not much sympathy he would get as the 
beaten man in an attack on a woman from an Iri^h judge and jury. In 
actions for dama-zes for breaches of the peace, attended with bodily in- 
juries received from a defender of the sex, the i)laiiitiflF is not only cer- 
tain to be nonsuited, but tlie defendant's acquittal is accompanied by 
marked expressions of applause from the body of the court. [Exit, b. 

SCENE III. — Haij-field in 5th (or 6h, being set full depth of stage) grooves. 
Bright suidight effect. 

Discover Bryan, Phadrig, Peter M'Cann, and Haymakeks, Men and 
Girls. Theg toss and pu<h the hag down to front, then stop, in irregu- 
lar line<i, resting m their forks and rakes, across the stage — Bryan c, 
M'Cann r. c, Phadrig l. c. 

Bryan. Well, boys, barrin' interruptions, we shall do mighty well, for 
it's dry enouuh alieady. 

M'Cann. Diy it is, enough an' to spare. Faix, ye're right ! I've been 
thinking it was very hot all along, and am glad ye spoke, though I am 
not so tliin as ye 

Bryan. Thin ! why, ye ould bag of blather, ye're like the pipers, all 
blown out wid wind. 

M'Cann. I am not such a parcel of bor.es as ye are ! 

Bryan. What's of me is uootl llesh an' blood, {slaps his thigh) and not 
air. Why, if a girl wor to make a mistake and give you a clip, you'd all 
run out through her arms, au' there'd be left only your shrivelled skin. 
{all laugh.) 

Phapkio. That's hot for you, Puter. Give it back to him strong. 



24 EILEEN OGE. 

M'Cann. If I commenced to answer him I shouldn't lave an ounce of 
him ; but it's exliuustin' to be disputing. Come, an' you say it is so 
dry, why don't you uive us somewhal to wet our whistles ? 

Bryan. It was ihe blisj^ed hay I spoke about, and not you, you ani- 
mated balloon! But it's all right, b'yes. I have sent up to tlu- dairy 
for a churn of butthermilk, and the mastlier has promised ajar of whis- 
key, so ye may refrish yersilves as ye plase. 

All. Hurrah ! 

Bryan. That's what I was going to say whin this big bolster of a spal- 
peen interrupted me, wid his tongue hanging out of his mouth like a 
bull's. 

Enter, R. 1 E., Norah. 

Bryan. Miss Norah, is it ? Is it come for a little divarsion in seeing 
the boys and girls making hay ? 

Norah I have come to take my share in the liaymaiving, if you will 
let me. {all evince interest ; they whisper to eafh ot/ie>\ find so forth) Or 
rather a part of the diiy, for the sun is so high that the day is half g«)ne. 

Bryan. O'Donnell's sister forced to work for her bread — well, this is 
a sorrowful sigiit ! 

Norah. I have heard that haymaking was light work and casi'y learnt 
"by any one, and even a day's wages would be welcome to them at home. 

Bryan. It's time he came home if ever ! Muslia! but this is a biiter 
cross. 

Norah. There's no shame in it 1 {all st'trt and mutter " No, no ! ") 

Bryan. True for ye, there is none ! The heavy part of the day is now 
done, but there's enough for one to earn a bit something. You shall 
have a place. 

Norah Oh, thank you ! 

B RYAN. And there's a light fork, (ffives Norah a smailish pitchfork) ISIind 
an' don't overwork yorsilf. (Norah goes l. c.) But ye mustn't work in 
amouii the boys — they're hone>t enough, but they area rough lot. Patsy, 
{a Girl comes forward l. to c.) you take Miss Norah into Ihe little cor- 
ner biyant and give lur some lessons in the young lady's latest accora- 
plishmint of hay-making. 

Girl {curt.sei/iny). Miss Norah ! Sure, I'm proud <f it! 

[Exit, foUowtiiy Norah off, l. 1 e. 

Bryan. Now then, b'yes, rake up the hay ! 

Music, The hny is rnked up stage and formed into little heaps, L. c. owu- r. c, 
vp ani down stnge, two lines of three or four heaps each. R., noise of 
drumining on a tin pnn, striking a suspended piece of iron trith another 
continuously like ploying a triangle, and a hissing sound like men make m 
rubbing down a horse. 

Bryan. What noise is that? 

Enter Bridget, r. 1 e. 

Bridget. It's the bees. 

Brvan. The bees making aoioisc like that? 

Bridg. No, I mane it's the boys bringing home the bees. 

Bryan. Why don't they come home of themselves ? Oh, I see, bees 
is like women and soldiers, they must be coaxed wid noise, {all go up, in- 
side of 2d grooves line.) 

Enter, r. 1b., two or three Peasant^, one hissing coaxingly, another drumming 



ACT ir. 25 

. 071 tin pan, another ringing a piece of iron on a siring with nnothrr piece 
of iron ; four holding a sheet up at arms' length over their heaJs, one at 
each corner, folloiced by several more ivith twigs smeared tciih mdasscs and 
sugar. They all cross and exeunt, L, 1 E. 

Bryax. That's a dale of ceremony for so little a crature as a bee. (comes 
doivn front with Buidget) What kept you so loug 1 Was it colloguiii' \\\d 
the bees, ye were 1 

BiJiDG. No, but I was looking after them. 

Bryan. Oh, bees is bad things to look afther — they have stings in their 
tails. 

Bridg. We lost part of them in the swarming, and that's what detnined 
me most. 

BRYA>f. And where did ye find them ? 

Bridg. Tiiey liad flown over the house in behind the haggart that used 
to be Patrick O'Dounell's 

Bryan. Did they ? Then it's a token of good luck. He'll be coming 
back some day ! But I was going to say that you are lucky in coming. 
Sure there's a girl that's been plaguing the life o' me. She isn't a 
stranger — btit a mighty ingaging being intirely. 

Bridg. (interested). Wlio is she ] (All come dotvn, listening with interest.) 

Bkyan. Well, she isn't ould, and she may be called handsome by thim 
that admiies her, but I can't. She ouglit to be punished for the murder 
she is committing this moment on my heart. She's a nice girl, though 
her eyes might be bigger, and her nose — it's a mighty indepiudint nose — 
it don't turn up nor turn down, but inclines to one side. 

Bridg. (impatiently). What is her name ? 

Bryan. Her name ? Yis, I belave the crature has a name. Here, I'll 
whisper it. But you mustn't look at me in that way. TuAi your ears 
to me, (Bridget turns her back to Bryan) Not like that. Ye haven't ears 
in the back of your head. (All laugh) Though ye are a quare-made wo- 
man on the outside. Well, niver moind : just turn the cock of your nose 
upward as if ye wor looking for stars in the skies. (Bridget innocently 
looks up, tind Bryan kisses her.) 

All. Ha, ha I (Fradrig comes to c. and sings.) 

SONG. — Oh, isn't it fun to make lov^e in the hay ? 



It's best to combine your work and your play, 
And be making love while ye're making hay; 
It's easy in raking to wisk girls "good day," 
And iujoy all the fun whoile ye're toiling away, 

CHORUS. 

Isn't it fun ? oh, isn't it fun ? 
(emphatically) Oh. isnH it fun 
To make love in the hay ? 

(Dances a step of jig.) 

II. 
That toime bein' past comes the swate month of June, 
Whin the heels of your brogues of thimselves plays a tune, 
An' the girl of yer heart loves — not only in play — 
Sometimes she's near, sometimes far astray ! 
But it's beautiful fuu to make love in the hay. 

(Chorus and dance as before.) 



26 EILEEN- OGE. 

ni. 

If thin ye get once of her lips a rich taste, 
It's like to conclude wid a call on the praste ; 
And tiie cares of your loife ye wid haste aside lay, 
And at high-tide of happiness joyfully say — 
Oh, wasn't it fun, etQ. 
{Chorui and dance as before. Then all sing chorus and dimce) 

Bryax comes to c. and sings (or speaks to music if he is not a vocdist, and in- 
deed what he recites is irregular and must be accompanied by the music.) 

IV. 

But oft it has happened in Ireland they say— 

There'll be twins in the cradle {AU laugh, not loud ) 

An' a nurse in the house 

„^ ^ , , . , [Bridget and Girls threaten him. 

Who takes whiskey in tay 

[Girls seize him and lUn him off, r. 1 e., beating him. The Men laugh. 

Enter, r. 1 e., Mex carrying a churn, which they set l c. line of \ e and 
a stme jar which they set on stool, r c, 1 e. line, i^^-p;/^r Bryan and 
Girls, r. 1 e. Girls gn l , and 1st Peasant Girl and Uriuget ladle 
out the bultermUk into tm caps, bowls, etc., and they drink. 

BRYAy (takes cup and JiUs it out of the Jar). Oh, boys, here's the drink 

l±l Z -"r' I '' ?'-"' '' Pi^'^°"'^- ^''^ '-'^'^ "»« life, and take fi s 
taste I {drtnk.s and mokes a wry face.) 

M'Cann. None of your freaks with dacint liquor 

oth^e^'r'^^''' ^^''' • '^'' ^'''"'''^ '^"^' ^ """'^ P"^ '^ «"^ «f 1^^'" ^id an- 
M'Cann. Oh, drink fairly ! 
Bryan. Go on, b'yes ! (all drink.) 
Peasant {at back). Hooroo, b'yes ! here's the piper ! (all cheer.) 

Enter, l. u. e.. Piper, with his bagpipes. He comes down c, shaking hands 
right and left. 

Piper. Is it all well ye are? I sh'u'dn't ha' thought it widout ti.e 
piper being to the fore. Ye're lucky this day, for there'^IbeMuti u^ 
wind, which will fill out the bags to discoorse music vidout the hste 
taste of a grunt. Who's for a jig? ^viuouc iiie l.iste 

All. A ji-- ! (they loss up their caps, etc.) 

Bryan. A jig ! Bother a jig ! We haven't got a barn door here to liv 

trfo^tireXaSs^tn" ^"^^^"^^"^ ^' ^^ --' -^ - "^- 

^"'%f '^1' Ilaj^maker's Run," introductory, while the dance is prep red 
fo JExnmt Brwgv^t and BuYAN. MEN>-;n a line at back,J{onriX 
tng shdlalehs dunny the dance. i''^,jiuiu isn 

Description OF Dance.-A11, at back, dance down front in two rows 
o sixteen euch (a corps of thirty-two). Each row form a r n by the 
endsjoining hands, and dance round three times; then break iTi to four 
rings and dance same; tiien into eight rings and t^e ^apae rZ 
heaps of hay being left on serve as centres fSr these nils )rh;n form 
four rows, which jig along the front, facing audience^^They retire up 



ACT II. 27 

to line of 2 e. The front row (male l., female, male, etc.) run l. As 
tlie last one reaches the first l. one of ilie second row, they join hands, 
wnd tlie second row follows the first oti" l. So with the next two rows. 
All are now in one chniu. After going < ff l, 1 E., the leader brings 
them ( n again L. 3 E., cross to R. 2 e., and exit. Re-enter, r. 1 e., cross- 
ing to L. front, then circling back to r. 1 e., within the line of those 
following, and, by continiiintr the circle while narrowing it, he winds 
them all up like a watcli-spring, he being in the centre. All stop and 
shout " Hurnto ! " The nii;n jump up and lift the girls. To repeat, 
form ill four rows and run off" l. 1 E., as before, with the same finish. 
At the last entrance Bridget and Bryan enter with them. 

Enier^ L. u. E , « Peasant. 

Peasant. Boys ! boys ! 

Bryan. Whist! what is it? 

Picas. The pollies (police). Tim the Pinman and a lot o' pollies ! (gen- 
eral sens ition. All form groups and look up l.) 

BitYAN. What are tliey going to cI<j ? What do the police want 1 It's 
little or less they'll get here. {Jfustc^ inilitary march.) 

Enter ^ L. u. e., Tim, two Bailiffs, Police Officer and Police. They come 
down R. side to froni^ forming line, r., at 1 and 2 E.* 

Tim {shows warrant). Oh, yis ! oh, yis ! oh, yis ! 

Bryan. Divil a taste of it ! If you want anything of us, ye'll find it 
will lie oh, no ! oh, no ! oh, no ! {all laugh.) 

Tim. Know all men by these presents, that by vartue of a warrant 
duly signed and registered, we make distraint for the value of a sum of 
money due to Henry Loftus, Esq., the superior landlord, of all havings 
and houldings, messuages and tiniments, all the produce, cut grass and 
hay now lying here. 

All {groan). Oh ! 

Bryan. There'll be some one else lying here. I tell you that ye'll go 
back as empty-handed as ye came, Mr. Moriarty has paid us for our 
work — we are his men 

All. Aye ! 

Bryan. And for him we make the hay, and not for Mr. Loftus. 

Tim {swngely). In token of lagal sazure we must take something, {to 
Policeman) Fill that basket and take it away, {in the teeth of Bryan) In 
the name of the law! (Bryan knocks him down.) 

Bryan. Who dare pick up a straw ? Girls, clear the coorse. Ye'll 
find some soft stones bejant. (Girls yo l. Men and VoncE^ght. Some 
Peasants seize Tim and carry htm o/", k. ; re-eniertng, they take the Police in 
the rear, and so overpower them. Girls and Men at back cheer and wave 

kerchiefs and flourish slicks. I'ab'.eau.) 

SLOW curtain. 

* Peasants {at back). 

a Officer. Bryan. Bridget. S 

^ Tim. . ^ 



28 EILEEN OGE. 



ACT ni. 

SCENE I. — A room in Moriarty's house, m 2d grooves. 
Discover Moriarty and Eileen, seated, c. 

Mori. I fear this will turn out a highly painful affair. Through 
the excessive zeal of Bryan O'Farrell and tiie men he misguided in what 
will he called rebellion against the lawful forces, you may at any moment 
Bie your old father dragged off like a felon to the county jail. 

Eileen. Oh, father! it is not possible you can be in)plicated. 

Mori. The men were in my employ at the time — were, indeed, my ser- 
vants, and I will be hfld answerable for the excesses they have wrought. 

Eileen. Father, I have asked ray heart to consider your wishes, but it 
has not yet responded. Give it a little time. I will sec Mr. Loftus, and 
implore him not to have you judged harshly. Surely he will need but 
to have the matter explained to him to prevent your being dragged to 
prison. 

MoRL There was a time when you felt no reluctance to obey. 

Enter^ l., Peasant Girl. 

Girl. Mr. Loftus, sir. 

Mori. Ah ! Tell him to enter instantly, (rises.) 

Enter, l. 1 e., Mr. Loftus. Exit the Girl. Eileen rises an goes o l. c. 

LoFTDs {shakes hands tviih Moriarty, c). Good morning, Mr. Moriarty, 
I hastened to apologize for my fellow's gross outrage, for I must call il an 
outrage, to act thus without my knowledge, much more without my 
orders. You agree with me ? 

MoRL I must own that I thought it cruel indeed. I could hardly 
brintr myself to believe that you knew 

Loft. Surely you did not suspect me — Well, I could have expected 
anything but to be suspected, and by Miss Eileen, too. 

Eileen, I must confess 

Loft. Well, I shall not forgive that scoundrel Maclean in a hurry. 

Eileen. My father has never before been behind-iiand with his rent. 
I own that 1 was wrong to have misjudged you so hastily, and yet you 
cm understand that there was no other explanation of the action. I beg 
of you to give my father time to meet the rent, and to his thanks, I shall 
add the best of my own. 

Loft, [aside). The lovely Eileen a supplicant at last. This is, indeed, 
a triumph! [aloud) Yes, while regretting, I can understand that you 
should have had doubts. It was a simple thing : my agent went beyond 
l»is authority to invent new orders. Happily, all will be well on one con- 
dition. 

Eileen. Condition "? 

Mori. What is it ? name it! 

Loft, [smiles). When I say is I mean was — there was but one wny 

Mori. If you impose conditions, let me know at once the nature of 
the debt. 

Loft. Well, you cannot suffer if it is proved that my a<rent and myself 
were in the wrong. At the time that my agent made his seizure, it was 



ACT III. 29 

unlawful, for the debt was more than paid at the time. In a word, I had 
lod^^ed the money to your credit in the Limerick Bank. So you see, a 
few pounds distributed among the police, who were badly beaten, and 
there need be no more said about the matter. 

AIORi. I cannot sufficiently thank you, Mr. Loftus. You, indeed, be- 
have like a friend. 

Loft. I have not acted thus for any reward, (exit Moriarty, r.) I did 
not mean to make a bargain of my sentiments. But still (^o Eileen, 
tenderly) I cannot hope to conceal my joy that in serving your father, I 
am receiving tlie blessing of the only creature in the world who could 
make my happiness complete and unrivalled. 

Eileen. Believe me that I am grateful for my father's sake 

Loft. How grateful I should be if by this or any other act I could win 
such a heart as thine. 

KiLEEN. My heart ! {agitated) Pray — let me leave you ! 

Loft. Stay — one moment ! may I hope? 

EiLEEX. You — may ! 

Loft. Eileen ! (kisses her handy aside) She is mine ! 

l^Exity L., proscenium e. 

Eileen. Oh, Patrick ! If my heart is still true to you, my lips have 
betraj'ed you ! (c.) 

Scene closes in. 

SCENE II. — S'ime as Scene 11.^ Act II., in Ist grooves, 

Unter, l., Bridget and John Thomas, to c. 

John (l. c). Well, Miss Maguire, I must say that affairs are beginning 
to look more brilliant. 

Bridget. What affairs ? 

John. The affaires de queer — {affaires de c(Bur) ! 

Bridg. Affairs dee quare — thin you must mane quare affairs. What's 
thim ? 

John. Those of my love, which you know were coupled with my mas- 
ter's. He has h'induced Miss Moriarty to change her h'opinion of him, 
and that means marriage. 

Bridg. Ah ! it will be an evil day to her and all of us when she lets 
Mr. Loftus or any one but her own true lover change her name of Mori- 
arty. 

John. Miss Maguire, take copy by their h' example, and remember my 
afft'ction to make a h'appy man of me. It will be the death of me if I 
don't succeed now. 

BniDG. Amen! 

John. Don t say that! 

Bridg. Sure I might agree that, when your master's married Miss Ei- 
leen, I might be led to the altar by you, for ?orra a betther fate would 
the likes of me care to have on such an occasion. 

John {g«yly)- After that you needn't say more in proof of your love. 
Let me press your 'and to my lips. 

Bridg. On your knees, sir, ask the favor. 

John. On my knees ! {aside) And I have new buckskins on, and they 
are tight. Never mind ! 'ang the h'expense when there's a pretty girl 
in the case, {kneels on his spread-out handkerchief , with much diffculty) Miss 
Maguire, I ask you to let me seal the bond 

Bridg. You are not very gallant. 

Enter Bryan, l. 



30 EILKEN OGE. 

If yon were an Irishman you would be ready to kiss the very ground I 
walk on. 

John {horrified). The ground? No ! I can't stoop so low. But I will 
kiss your foot, just h'abovc the h'ankle ! {aside) The dear gal ! 

BiJiDG. Yon nniy if ye stoop, {os John lowers his head, Bryan tiJcrs 
Bridget's place.) [Bhidget ixits, it. 

John (aside). It's not a very little one! I — I beg your pardon, but 
your shoe is inu<idy (h'df ris s.) 

Bryan {stoops and laughs m his face). Ha, ha! Oh, you shoncen ! at it 
again ! (J hx cannnt get up on nccount of the tightness of his breech' ») Is it 
making a nionunjent of yerself ye are, or duiu' pinnance by tlie road- 
side 1 

John {aside). That Irish boor ! {looks round) He has frightened the dear 
gal away ! 

Bryan. Get up and go away, and don't make a cockshot of yourself 
for every one that goes past. 

John. Get up ? That's not to be done in an instant. Here goes ! {rises 
with an effort.) 

Bryan. What's the matter? Have you got the rheumatism ? 

John {keeps his face to the audience throughout). There's an awful frac- 
ture. I must go 'oine and make a change. 'Owever, I've jiot the dear 
gal's promise, and I should have had her name tlie day only for this 
h'Irish boor — cuss him! 

Brtan. Is it praying ye are ? Then don't forget yersilf, for no one 
needs it more. 

John {sjieeringhj). I suppose that's h'Irish wit. It's the h'only thing 
they h'ought to be allowed to keep to themselves. 

Bryan (/fl'/z^/'s). Because you can't take it away from us. Though it 
would not do yees much good if ye did, for it's like tlie shamrock, it 
only thrives in a ginerous soil ! 

John (l.). I wonder that Parliament don't pass a h'act to make it pe- 
nal for any one to prevent a h'Euglishman doing what he pleases. 

Bryan. Sure, when ye're in tlie danger of going to the divil in your 
own consate, no one would try to stop you. 

John. At least they should be kept from h'old h'England, 

BuYAN. If all Englishmen were like you, an' it's a mercy that they're 
not, that would be the last place an 7 one would want to live in. 

John {goiug lofldy off, l.). That's a matter of h'ojiinion. 

Bryan. Mind that! (John exits s/dewise) So that monkey's master is 
going to marry Miss Eileen at last. Poor Patrick O'DoraKll ! He might 
have been spared that last t-troke of bad luck — tlu^ girl of his heart 
should have kep' true to him to the last. Mr. Moriarty likes the land- 
lord, and, indade, no doubt the pressure is great upon him. Or perhaps 
she loves him — women are such queer cratures. It's strange that we've 
never had news of him. Oh, may be he'.- dead. It's but black news we 
would liave to send him instead— his mother dead, his sister forced to 
go out for a day's wages, his home in ruins, and his own sweetheart 
about to wed another, and that other his rival ! Poor Patrick ! it's far 
better for you to stay where you are, in blessed ignorance of the evil 
times that have been here. Oh, don't, dou't come back — it would break 
your heart ! Stay where you are, and keep the memory of old and hap- 
py times warm! [Exit, l. 

Music, "Exile of Erin." IJ^der, r., Patrick O'Donnell, disguised. 

ODoNXELL. My letter must have reached my sister by this time, and 
she will keei) the tryst, no doubt. Yet now that I have written it I fc.ir 



ACT III. 31 

that I have been imprudent, for if it should have fallen into any hands 
but liers the consequences may be fatal to me. And yet no one but her 
could have understood it. Alas ! hate is kem ! But I must risk some- 
tliing to have n ws of them that I have heard noUiing of for so many 
years. What m;iy liave happened to them nil uhile I have dwelt in 
shame and ignominy. My mother, sister — are tl.ey yet alive ? Eileen, 
my loved one, and so rudely lo t, art thou slill true? I fear to inquire 
of them I meet, lest they should suspect me from the engerness of my 
curiosity; and to strangers it weie useless and still more dangerous to 
apply. If my letter brings not Norah to my refuge, where I skulk like 
the liunted hare, I will seek Father Mahoney. If he cannot aid me, at 
lea^t he will not betray me. Ah ! some one approaches, ilookn l.) Tiie 
■fjice of one is familiar to me, and the other 1 fancy is not altogether un- 
known, and somehow they vaguely revive unpleasant reminiscences. I 
must return and seek another road. [Exit, r. 

Music to LoFTus's entrance. Enter, l., Loftus and Maclean. 

LoFTUS {gnyly). Congratulate me ! The proud Eileen has at last con- 
sented to be mine. 

Maclean. Dinua halloo till you are oot o' the forest. How do you 
Know but that she is playing a double game with you and anither ? 

Loft. What other? (Maclean 5;>nVfa) There's only one that 1 have 
reason to dread the presence of, and he is far away and dare not return 
on peril of his head. 

Mac. Aye ! if ye think so ! Hark'ee ! you kuoo what reasons I ha'e 
to be tender to the name of O'Donnell? Weel, when I was sitting in 
my office last night, 1 heard the postman asking ray dark if he knew 
tue address where he would And one Norah O'Donnell, for whom he had 
:i ieeter. My dark couldna' tell, but I went to the door and told the 
man tliat I thouglit the girl would call at my office, wheu I would gi'e 
i:er the Ieeter. Glad to be suved the trouble of tramping aboot the 
country, the man left the letter iu my hands. 

Loft. You did not read if? 

Mac. The sieam from a boiling kettle sufficiently moistened the ad- 
hesive gum on the envelope to enable me to open it. 

Loft. And it was from him ? 

Mac. It purported to be from a friend of his, and his name was not 
mentioned ; but I mak' no doot of it. 

Loft. Theu he is herel 

Mac. It asked Norah to meet the writer at his hiding-place this night, 
the old water-mill of Barrow's Folly, which the country folks say is 
haunted. 

Loft. Aye, by the ghost of a lady. 

Mac. The very place for a man to avoid discovery. She was to know 
the writer by the token that one da}', when they were children, she had 
dressed herself in a sheet and personated the ghost. I understood it 
all. This morning the postman came for the letter, for, meanwhile, he 
liad discovered the girl's address. 

Loft. No, Eileen could not have known of this, or she is an arch-hyp- 
ocrite What's to be done ? for they must not meet. He's a returned 
felon. He can be lodged in prison and sent back to serve out iiis sen- 
tence. 

Mac. That would make a stir. He is without tlnj pil- of the law. 
and, since no one knows yet of liis return, he might be knockit on tlie 
head iu a corner, and no one be tiie wiser. 

Loft. Tlie prison — that will do — I will have no murder. 



32 EILEEN OGE. 

Mac. I don't mean murder. With the help of one of my bailiffs — a 
new man to this part of the country— I will undertake to arrest him and 
keep him close until after your marriage. We can carry a mock war- 
rant, and, should he resist the arrest, we will be on our rights, and the 
consequences will be on his own head. 

Loft. Disguise it as you may, your proposition is tantamount to one 
of murder. 

Mac. Wlio cares for him — unless it is your betrothed ? 

Loft. Ah! anything, so long as you keep him out of the way till 
Eileen is mine. 

Mac. {aside). And I have secured the pretty Norah to become my left- 
handed wife, {aloud) Mr. Loftus, we must hang together now if we would 
not liang afterwards. You shall sign the mock warrant, for it is ueces- 
sary that you liave a hand in the work. 

Loft. No, no ! 

Mac And you must be seen in our company just before and after the 
dt-ed. 

Loft. Why that word ? Nor you nor I need steep our hands in blood. 
I have sutnethiiig which will render him as one who is dead, while you 
cim put him away in safety. 

Mac Then come ! [They exeunt, l. 

Iltisic^ " Exile of Erin." Enler^ r., O'Donnbll. 

O'DoNNELL. I was right to avoid those men. I have good reason not 
to esteem either of them as friends. Here comes a peasant — an honest 
fellow — I will risk it and ask him a few questions. 

Unler, L., Bryan. 

Bryan. Eh ? it is ! no ! it can't be ! Oh, spake, spake ! Te're not 
dead ! It's not yer ghost ! Ye are — ye are 

O'D. Bryan ! {they f nil into one another^ s arms, c.) 

Bryan. Have ye got your pardon? No! Oh, murder! don't ye 
know that it's to your death ye're returning ? 

O'D. It's better to die amongst those we love thm live amongst 
strangers. Tell me 

Bryan. Whist! there's some people comin'. {looks b..) 

O'D. You'll come with me ? 

Bryan. Anywhere, barriu' it's to the divil ! [They exeunt haaiUy^ l. 

Scene changes to 

SCENE III. — Interior of Ruined Water-mill, in 4tth grooves. Moonlight, 

R. u. K. 

Enter, L D., NoRAH, to c. 

^rah (cautiomh/). Where are you 1 Mister Letter- writer, it is No- 
_;;']^ Oh, don't be frightened. I know you by the token. Are you 
trying to play a trick on me? I am not more easily frightened than 
others, but it would be cruel to trifle with me so. Why don't you speak ? 
(mnsic) It is your sister Norah! The silence chills me to the heart. 
There is no one here. Can I have mistaken the time? Perhaps I have 
come too soon or too late ! Not too late ? Or he may have fallen into 
the hands of those whom I know would be thirsty for his blood. Pat- 
rick I Don't keep me waiting in this dismal place, for it terrifies me! 



ACT III. 33 

He does not seem to hear ray voice, {to l. d.) Steps ! he is coming ! and 
not alone. Patrick, I — 'sh ! if it should not be him ! I will conceal 
myself. [Fzits, r. d. 

Music, such OS u used in melodramas for the business of the Villnin searching 
the room before he murders the victim in his bed. Enter, L. d., Macleax 
and Bailiff. The latter searches the staye^ then comes to n. c. 

Bailiff. Airali, there's no one here. Its as dark as a black cat in a 
cellar. 

Mac. You know what we have to do here . arrest a returned convict — 
an escaped felon. If he resists 

Bail. Blow his brains out. {shows a pistol.) 

Mac. No ! there must be no reports of firearms. We can't be too quiet 
over the job for fear we rise the county. Put away your pistol, so that 
you cannot yield lo the temptation. Put it down, I say. (Bailiff reluct- 
antly puts p:s!ol on rail of stairs and platform running n. c. to D. f.) You say 
Mr. Loftus gave me something? 

Bail. Yes, a bottle — that I'll take my oath on. I saw liira put it into 
your hands. Ah, it's craving a drop I am — it would put courage into 
us. 

Mac. More like take it away. But it was not drink. You saw Mr. 
Loftus sign the wariant? 

Bail. Yes. Give it to me. {takes paper) That's all right! I have heard, 
sir, that this ould mil! is haunted. 

Mac. Yes, by the ghost of a lady. That makes no matter to us. In- 
deed, she ought to be friendly to any one adding another to the people of 
her land. 

Bail. I don't like them sperits. 

Mac. Tut, man ! Remember that we work for money ! It's ten 
guineas to you for your share in the task. 

Bail. That's enough. Hark ! {goes to l. d.) I hear steps. 

Mac. He's not alone ! Come on ! {they exit, l. d. f., and hide.) 

Enter, l. d., Bryan and O'Donnell, to c. 

O'Donnell. This way, Bryan. If Eileen is still true 1 If the old love 
has yet some charm in her heart, as you bid me hope. 

Bryax. Niver fear, sir, she Las thought of no one but you all aloncf. 
Let her once know that you are at hand — for it's your long silence tli:it's 
done the harm — and her heart will warm lo you. Sorra a one of thim, 
good or bid, that will be able to kape her from you thin. It'll all be 
right ! Father Mahoney is getting up a petition for your return, an' 
Uncle's no end to the neighbors that will break their necks to sign it. 

0"D. My sister should have been here, but I see no signs of her. 

Bryan. This is a quare place by the light of the moon ! don't you find 
it dull here all alone — or do you be having a swate interview with the 
ghost betimes ? 

O'D. Ah ! yes ! No, the lady has not seen fit to honor me with a 
visit. My own thoughts are miserable enough without the company of 
an}' such visitant. 

Bryan. Well, I shouldn't mind her either, if she'd come an' see me in 
the daylight. 

O'D. Surely you do not believe in ghosts— you, a nmn 7 

Bryax. Well, I know that there's a good many that don't belave in 
thim, or at laste, pretinds not to belave in thim ; but, d'ye see, I always 
have a great respect for my grandmother, and what we hear when we are 



34 EILEEN' OGE. 

childer, is apt to stick to us through life. Now she used to belave ia 
ghosts, and taught me to do tlic same, aud now 1 beiave in Ihim out of 
respect to her memory. Sure, it makes me say my prayers sometimes 
whin I am in tlie darlc whin I wouldn't have done it otherwise, and tlnit's 
a great gain intirely. Well, you're well placed here. In case of trouble 
you have several ways of escape. 

O'D. Really, T don't remember but that door, {points to L. D.) 

Bryan. Oli, there's this one. {ffoes tv u. D f. ) Latter ways it's not a 
road, but a rope — ah, here it is, fastened to the windlass. In case of 
alarm, you have only to lower yourself down by this, and find yourself 
in another county. 

O'D. But the mill has been abandoned and the rope disused so long — 
will it not be unsafe ? 

Bryan. Well, its lowered many sacks of flour in it's time, [hangs ott 
the rope) No ! it's all right enough, {comes to l. c.) There's another road, 
if it can be called a road. It ouglit to be somewhere about here. Ah ! 
1 have it. {lifts trap-do^?-) You cau drop down here into the mill-race be- 
low, and be swept out into the shtrarae, where you can ai.sy reach the 
shore and find the ferry waiting day and night to take people over. 

O'D. But one would be dashed against the wheel. 

Bryan. Oh, no — when the mill was left, by raisin of it's bein' too big 
for the grinding of the district, so they call ii Barrow's Folly — the wheel 
wss drawn up, and you cau pass under it without fear. 

O'D I think I remember now. 

BiiYAN. Whin I was a boy, an' a harum-scarum fellow, I used to do it 
for a bit of a freak, an' was niver the worse for it. {closes trap) But I 
must be going now. 

O'D. Don't forget my message to Father Mahouey. 

Bryan. No ! nor for Miss Norah either. But won't you come home 
to us? 

O'D. That would only expose you to danger. 

Bryan. Oh ! niver mind that! Well, if you won't come, I'll bring ye 
a shake-down of straw, and a pillow, and maybe a blanket or two, 
and thin, if the ghost does come, you can do like the childer, stick your 
bead in the straw and bid her do her worst. Good-bye ! {going to l. d., 
turns and goes to r. d. f.) This is my nearest way! {seizes rope) It's aisy 
to go down in the world ! 

\^Exit down rope. Music as before to Bryan's exit. 

O'D. He is gone. Now, I must wait for my sister, or until his re; urn. 
If that letter should have fallen into other hands — though no one bul her 
could hardly have understood it — I fear that I have been imprudent in 
writing to her. (r. c.^ front.) 

Enter^ L. d. f.. Bailiff, tvho comes down c 

Bailiff. Your name's O'Donnell. I arrest you. {he has a stick.) 
O'D. By what right ? 

Bail. Oh, if you want to see my warrant, here it is. {shows paper) But 
you will have to go, though you see it or not. 

O'D. {draws pistol). I am prepared for what I have to expect. 

Enter Maclean, l. d. f 

Bailiff {aside). Armed ! confound it, I have put my barker away. 
Maclean {polUely). Mr. O'Donnell, I have heard this man's speech. I 
beg him to acquaint you, as a gentleman, with the nature of the charge 



ACT III. 35 

against you. If he is in the right, as a loyal subject, I mun aid liim, but 
if you are in the right, you shall lia' my help. 

O'D. I thank you, though I have no reason to believe you a friend to 
me. 

Mac. Let by-gones be by-gones. If you won't trust me now, perl)aps 
you will wlien you know thut 1 bear ye a message from your sister 

O'D. {lowers his pistol). My sister ! What of her? (Maclean ^springs 
on him, and tvhile Bailiff holds him, Maclean applies a handkerchief to his 
fto^e and mouth. O'Donnell's struggles cease, and they lower him to the ftaye, 
where he fails as if dead.) 

Bail. Murder, but that's a nate trick. So aisy done, too. It's like a 
chaim ! He don't budge. Is he kilt outright? 

Mac. No ! he's only safe for a short time. 

Bail, {raises his stick). Mayn't I settle hira with a crack over the 
head ? 

Mac. No ! there must be no marks of violence cm him. 

O'D. {in a siified voice). Help, help, help ! Ah, where am I ? I am 
conscious of wliat goes on around me, aud yet I can make no resistance. 

Bail. Sure, he is dead ! 

Mac. No ! but there must be no blood, {drags O'Donnell to tmp^ while 
Bailiff picks up 0'DoNNELL'sjt>i«/!o/ and puts it in his pocket) The trap is 
somewhere here, {opens trap) We will drop him into the mill-race, and 
he will be carried miles down the stream. 

O'D. {faintly). Ah! monsters! 

Mac. If found, there will be nothing to incriminate us found on him. 
(the two push Donnell down into the trap.) 

Enter No rah, r. d. 

Norah. Oh ! hold ! 

Bail, (lets trap fall, and he and Maclean go to l. d.). The ghost ! the 
ghost ! [Exit, L. D. 

Mac. Ghost be hanged ! It's a woman, {returns to c.) What were you 
listening there for ? 

NoKAH. To be a witness of your crime! Who was the unfortunate 
whom I saw you — oh ! was it ray brother? Ah ! 

Mac. Brother ! Why, it is Miss Norah ! I am in luck's way to bag 
the two at the same time. Woman, don't you know that what you have 
seen, you must not go forth in tlie world to tell of? 

NoRAH. Yes, kill me ! It were fit tliat the same hands which have been 
imbrued in my brother's blood should end my life. Kill me, and com- 
plete your work at one blow. 

Mac. Fool ! don't tempt me. Here you must stay till morning ! Only 
as my wife, can I be safe from your evidence. In the morning we will 
go to your praste, and you will be only too glad that he can make an 
honest woman of you. 

NoRAH. Monster ! (they struggle.) 

Bryan climbs up rope, seizes the pistol left on the railing, andjirts at Maclean, 

who falls L. c. front. Picture. 



SLOW CURTAIN. 



36 EILEEN 0G£. 

ACT IV. 

SCENE I. — Same as iScene /., Act L Sun rising. 

Enter Bridget, from house, l. Enter John Thomas, with box or parcel, l. 
u. K. Tluy meit up c. 

John. Oli, Miss Maguire ! Tlie h'auspicious day has uow li'arrivcd. 
May 1 trouble you to convey my mastei's compliments to his li'intended 
bride, and with them this wreath of orange blossoms. 

Bridget. Let's have a peep. (John openit corn>r of parcel and lifts up ewer 
of box) Tliey're beautiful ! I wish they was mine ! I wonder how I 
should look in them ! 

John. H'augelic ! Won't you h'allow nie to present you with the like 
the day when you make an 'appy man of me • 

Bridg. {lake parcel). Oh, bother! you nre only joking! 

John. Can't you believe me williouL my kniH-l m: in proof of my pas- 
sion. 1 am sorry I can't do that — but I migiit burst something. 

Bridg. A bloodvessel ? 

John. No! {nside) Mending of breeches costs something, {aloud) Well, 
you shall 'ave the orange flowers — and a special license if you make it 
to-day ! Hang the expense ! 

BuiDG. I don't mean to say that I shouldn't like the bishop's license ! 
1 won't promise, but I will think about it ! 

John {aside) That's as good as settled. (Bbidget hands the parcel off l. 
D. into house) I'll go and get the license, {going up.) 

Enter y l. u. e., Bryan. 

Bryan. Eh ? what ! The Shoneen an' not on his knees I Phew ! this 
bates the pliaynixl 

John {aside). That Irish boor ! he's always h'interruptiug ! But he's 
too late this time ! I've as good as got the dear gal ! 

Bryan. Don't be in a hurry to go ! unless ye are ashamed of your- 
self. 

John. Ah ! {to Bridget) Good-bye, my charmer ! We, ah I can afford, 
ah ! lo treat the low people with silent contempt! 

Bryan. Troth ! there's nothing else you trate us to ! the color of your 
money ain't often seen! 

John. Hum ! I spoke to the fair sex, and not to the foul ! 

Bryan, You are a dirthy bird to sully your owu nest! lastewise, I 
compliment ye by supposing ye are a man ! (Bridget goes up c, John 
goes to R. 1 E., where Bryan follotcs him closdy) If the girls of ould Ire- 
land are constant in love, the lads of ould Iieland are steadfast in hate, 
and out of their rivals the brains quickly bate ! {makes a threatening ges- 
ture. John runs off r. 1 e.) He'll say more prayers in the next half hour 
than ever he did in all his life before, {comes to c. Bridget comes down) 
What was the Shoneen saying to you? Ah ! some more of his balder- 
dash I suppose. But, I say, Bridget ! this is a beautiful morning — bless 
it ! for such a sad scene to go on, 

Bridg. Ah, sad it is 1 Poor Miss Eileen ! she can't help thinking of 
him ! 

Bryan. Well ! there's no saying ! He couldn't do worse than come 
back now — on his sweetheart's wedding morning, 

Bridg. Don't say that. Sure at the very sight of him, her heart would 
lep' towards him ! Ah ! poor Miss Eileen ! there's nothing for it but to 



ACT IV. 37 

give way to her father! Sure, he'd be ruined if he didn't bow to the 
Jaiidlord. 

Enter Mahoney, r. u. e. 

Bryan. Oh, bedad ! if the landlords would take all the daucrhters — 
there's many would say, More glory to thim ! {he attd Bridget salute Ma- 
HONEY, tv/io comes down c.) Sarvice to your reverence. 

Mahoney. Good morning, Brj'an 

Bryan. Vis, sir. {cojnes beside Mahoney on his right. Bridget exits 
into house, L ) 

Maho. I ara expecting a letter. It's the answer to my petition con- 
cerniug Patrick. Go over to the post-office, and if it has not been de- 
livered, bring it back with you. It is highly important. 

Bryan. I am off like a sliot. I'll be back in a minute ! (rw«s o^R* 1 E. 
Sad intisic.) 

Enter, l., from home, Eileen, sadly. 

Maho. Here comes that poor child ! What can I advise 7 

Eileen. Ah, father, give me your blessing ! {kneels and rises) Oh, must 
I keep my promise ? 

Maho. {gravely). A promise, my child, which has not been made for a 
criminal ])urpose, should be always lield sacred. 

Eileen. Then I must hold to that wliich I made to Patrick ! Oli ! that 
one must surely be a crime which would make me forsworn at the altar — 
that would bind me to the man that 1 hate ! (l. c.) 

Maho. It is not right for us to hate any man. Pray to Heaven for 
strength to enable you to do your duty under whatever hard conditions 
it has been pleased to place your life. 

Eileen. They are indeed hard! Oh, cannot you help me to some 
means — any means — by which I may avoid this trial ! 

Maho. It is not for me to teach any one to evade the penalties of acts 
which they should have refused to commit. Let Heaven be appealed to 
— and b}'^ its answer — followed implicitly — lei you be judged ! 

Eileen. I have prayed to Heaven, father ! LuL ray heart remains unal- 
terably true to Patrick. 

Maho. Go to your room, and there, in silence, make a last prayer for 
counsel ! Even at the last moment, there may be relief. 

Eileen. Alas ! none for me ! I can't help my despair — for 1 cannot 
see the faintest ray of hope, {music, sad.) 

Maho. And remember, dark's the hour before the dawn ! (Eileen goes 

L.) 

Scene closes tn, quick. 

SCENE IT. — Offi,ce interior, in \sl grooves. Same as Scene II, Act I. 

Music to LoETUs' entrance. Enter, Loftus and Maclean, l. to c. 

Maclean. The country will soon be too hot for me, and I have got to 
leave. 

Loftus. I think you are very wise to do so. 

Mac. Oh ! there's nocht many that have ub much respect for me as my- 
self. I prefer flight to expulsion, or worse — arrest. 

Loft. Have you the means to travel ? 

■SI AC. Yes! I have provided myself for a long time past, and a few 
days ago 1 transferred my little savings to a London bank. 

Loft. How have you come out of the affair 1 

Mac. Ah, weel, e'en as life goes, and e'en better than one might have 



Jib EILEEN OGE. 

expected. The police hearing the report of firearms from the old mill 
liunicclto the spot, and picked me up insensible. In that condition I 
was cuiried to tlie hospital, where it was found out who I was. But T have 
reason to believe Ihut no word escaped my lips, by which even the nurse 
ill attendance on rae, knew what had occurred. Wlieii I could get away, 
without exciting suspicion, I did so, and was rejoiced that all was still so 
quiet. 

Enter, L., a Servant Man, tvHh bunch of white ribbons in ?iis button-hole. 

Servant {to Loftus). Tf you please, sir, the phaeton is at the door, 
and all the carriages of your friends. {Exit, l. 

Mac. Your house is decked out for holiday ? May I ask what is the 
occasion ? 

Loft, {lujhtly). Yes, you may congratulate me at last. At eleven o'- 
clock, the fiair Eileen will become Mrs. Henry Loflus ! 

Mac. {angrily). While you triumph, I am forced to seek safety ia 
flight ! to me, ruin and expulsion, while to you fall the fruits of your 
schemes. Beware, Henry Loftus, to shake hands with yourself too soon! 
for amongst the bridal flowers will be drops of the blood I have ehed ! 

Loft. Yes — you shed the blood — but not on my head can a drop fall. 
It was not my proposition, and in what you have done, you have exceed- 
ed my orders. 

Mac. Did you not sign the fictitious warrant! Did you not give mc 
the vial of fluid, which stupefied the victim ! you have dabbled your 
hand in the crime as surely as if you iiad been by all the while. 

Loft. No ! I never consented to his death. I was against it from the 
first ! 

Mac. (sneers). At the first you mean ! But there ! no good can come 
to either of us b}' recrimination. I had best go hence (smtles) before the 
local papers {shows a newspaper) copy this proclamation from last night's 
Gazette — it's an odd document ! 

Loft. Wliat proclamation ? 

Mac. This one. {reads) "By virtue of the authority lodged in my 
hands by our most gracious Lady and Sovereign the Queen Victoria, T do 
hereby proclaim a free and absolute pardon for a false charge of writing 
a threatening letter in the month of May, 1856, to Patrick O'Donnell, of 
Ballyshea in the County of Limerick, Ireland ; and grant him full leave 
and license to dwell, without let or hindrance of any man, in any part 
of this kingdom or elsewhere in the Empire. Signed, Charles Lisle, Lord 
Lieutenant." {folds up paper.) 

Loft. What can that avail now ! when he had returned from bondage 
but to meet death at his own door. For you make no doubt of his fate ? 

Mac. I made none ! unless a dead man can swim he has been swept 
out to sea or sunk in the river mud long ago. 

Loft. That is well. Now about your situation which you leave? 

Mac. That is all right. I spent the last few days in going over the 
accounts, and setting up my books. My successor will find no obstacles 
to his entering at once into my oflBlce. 

Loft. Then I must leave you. There is nothing else for me to do but 
to bid you good day, with a hope that you will spend the rest of your 
life comfortably in a foreign land ! 

Mac. I shall take guid care o' that! By the way, as you go out, order 
one of the men to bring my cab up to the door, and put into it the black 
bag I left in the hall. That contains papers that you and I will be both 
glad to have hundreds of miles away ! 

Loft. I will do so. Good journey to you. {Exit, l. 



ACT IV. 39 

Mac. {alone). And a pleasant wedding to 5'ou, you cold-blooded 
plotter against your neighbor's love and life ! Well, let him to the bri- 
dal ! I must not linger here when every moment is precious. 

Entei\ L., Tim. 

'J IM, Stop a bit ! Don't be in a hurry ! I arrest you ! 

Mac Arrest ? You're not a policeman ! (Tim crosses to b. c , Maclean c. 

Eiiter Police Officer nnd two Policemen, l. 

Tim No ! but he is ! Pm a giiitleman volunteer ! 

Mac. Arrested for what act of mine ? 

Police Officer. This won't do. Wc have your accomplice and he has 
confessed all. 

Tim. The coach is waiting at the door to take us all to the county jail 
in tip-top style ! 

Mac {lefs handcuffs he put on him). In another moment I would have 
escaped. Ah ! I felt so safe. 

Tim. Ah! ye sh'u'd niver be sure! Theie's many a slip 'twixt the 
cup and the lip. {(/tci/ exeunt L., Police Officer, Policeman, Maclean, 
second Policeman, and Tim. 

Scene changes to 

SCENE 111. — Same as Scene /., Act I. Bright moonlight.* 

Discover Bridgt seated up r. c. on bnnk, tvith John Thomas, to her right^ 
offering her pa/ eel or box. 

John. This is a merry morning. 

Bridg, Well, it may be to the likes of you and your master, but it's a 
pitiful one here ! 

John. Don't say that! It must be a bright day when we two are mar- 
ried. 

Bridg. Yes, indeed, and a long way off! 

JoH.v. Eh '? Didu't you give me your promise ? 

Bridg. Oh ! and maybe I'll keep it when you keep yours. Here's 
the flowers, and no mistake ; but have you got the license ? 

John. Not yet! the clerk told me he must first get the consent of 
your priest, but he took the money ! 

Bridge (laughs). Ha, ha ! you are a brave man ! 

John. That I must be to marry an Irishwoman. 

Bridg. Eh! What! 

John. Who has an Irish lover! (music.) Ah! there's my master and 
his friemls a-couiing ! 

Bridg. I would advise you to get the man to take back this license at 
a sacrifice ! [She crosses and exits l, d. into hous". 

Enter^ r. 2. e. Loftus, Talbot, Creagh and Guksts. They come down r. 
sidCy and group there. John gots up r. 

Loftus. My friends, I have assembled you to greet my bride. In ac- 
cordance with an absurd but ancient custom, a prelinwnary ceremony is 

* The effects and situations in this act are the same as those in Act I., but pro- 
duced by the substitution of Loftus for O'Donnell, etc. 



40 EILEEN OGE. 

requisite, but I trust you will overlook my humoring the natives. 
Talbot, (laughini/ly) set about it without delay. (Talbot and Creagh go 
L. and knock at the door of house.) 

Enter Bridget, l. d, remaining at it. 

Bridg. Well, an' what do ye want ? 

Talbot. Does Mr. Moriarty and his daughter Miss Eileen Morlarty live 
in this house ? 

Bridg. Troth, they do ? Is it a collector of taxes ye are ? {laughter.) 

Talbot. Please to tell Mr. Moriarty and liis daughter Eileen, that Mr. 
Henry Loftus is here, with his family, his friends and following, to con- 
duct the lady to church, there to be united to him in the holy bonds of 
wedlock. 

Beidg. Have you a copy of that spache in yer pocket ? [Exity l. d. 

Enter Bryan, r. 3 e ^o l. c, up. 

Talbot. The bride is not generally behindhand on these occasions. 

Bryan. No, sir, she geneially gets up in the middle of the night to be 
in time. 

Loftus. Who bade you speak ? Insolent! 

Bryan, Oii, I'm privileged when there's more than one r;isc;d in my 
company. Sure the party isn't complate widout a dear friend of yours — 
one whom you will be glad to see. 

Loft. Fellow ! 

Bryan. But if he isn't to the fore, maybe you would accept this da- 
cent boy as a substitute ! [chord.) 

Enter Patrick O'Donnell, r 2 e. to c. General surprise and agitation. 

O'D. [sarcasticaUy). I trust that I have not kept any one waiting. Ah ! 
a goodly company ! surely you are not assenibl-d to welcome me back 
from my foreign stay. By the favors I should judge it to be a bridal. 
May I inquire who is the favored individual^ 

Loft, (r c. front). I have the pleasure to answer that 1 am the hon- 
ored man. 

O'D. Ah! no doubt, the chosen object of the lady's affection. I think 
that in consideration of our former friendship, you might have asked me 
to your wedding. 

Loftus. I did not know your address, and, I confess, that, under the 
circumstances, I should hardly have invited >ou if 1 had known it. 

O'D. You thought I was too low down, {points dotcmvurd.) 

Loft, {starts). This is scarcely the time for a joke. 

O'D. It was none to me, or no doubt, you hoped — I beg your pardon, 
fe«red that I should have some difficulty in coining up ! 

Loft. 1 do not know to what you allude, but I -should hardly have 
expected that you would come, 

O'D. Oh, I can apjireciate your delicicy in dealing with people. Well, 
I will acknowledge that you have won the bride — and I have nothing else 
to do but wish you joy. 

Loft, {emphatically). I accept the wish as sincerely as it is uttered. 

O'D. In proof of my good feeling, I ask leave to present to the bride 
this jewelled cross, which I have carried with me many thousand miles. 

Loft. I can only permit it by the hand of her husband. 

Bryan. Here they are, sir ! coming out of the house. 



ACT IT. 41 

MttsiCy wedding inarch, Entevy l. b , Eileen, Moriarty, Bridesmaids, 

Bridget. 

O'D. [to Eileen). A wedding present, lady 

Eileen. Patrick ! (Moriarty supports her) I cannot accept it-— from 
you ! at such a moment it would be a hideous mockery. 

Loft. Let me lead you to the church {they all go up r. c. Music, 

roll of small drum.) 

Enter, l. u. e , Police Officer, Police, who remain in a live at hack, Ma- 
HONiiY and Nor AH. Norah coims down l, and speaks with Eileen. 
Tableau. 

Mori. Men of the law ! wliut does this mean ? 

OrricEU. I arrest you, Mr. Henry Loltus, of Lctftus Hall, {comes a little 
down R.) 

Loft. What for ? 

Talbot. This is some mistake ! 

Officer. This is not a time foi- Ihiit! 

Loft. I am Henry Loftus, of Loftus liall. Whatever your cliarire I am 
prepared to meet it, but tliis is not the place. You sliall not cany out 
the dictates of private malice here : I refuse to go with you,. and my friends 
will stand by me. 

Bryan. Is it a rescue ! Oh, two can play at that game. 

Officer. Make ready ! {^oiac^ prepare their carbines.) 

O'D. [sorcnsticnUp). Stay! you sliould make some allowance for a man's 
passions when thus annoyed on his wedding day. Give the gentleman 
the name and nature of the offence of which he is charged. 

Officer. I arrest him by virtue of a warrant, supported on aflSdavits 
in due order, charginir him with wilful perjury by Avhich one Patrick O'- 
Donneil was mistakenly transported, and witli an attempt at murder. 

All. Murder! (Loftus' fri nds shrink from him ) 

Officer. It's no use denying it. One of your accomplices has turned 
Queen's evidence. 

Loft. {"side). Ah! that Maclean! (aloud) You have now the day! 
{'iside) I tried to steal his love away from him, and the chains that were 
struck (iflf from him fall upon me. If. is just! that I must admit, {gives 
himself t) the P.olice. As they and he exeunt, l. u. e., lie lifts his hands, 
s'lym/) Oil, Nemesis 1 [Exit, toith Police, l. u. e. 

Bryan. What's that ? another name for tlie divil ? {Gvests, b.., retire, 
K., gradually.) 

Ma HO. (comes to c). No ! it is only the name of a pagan divinity of old 
who was believed to punish the wielded man at the moment of his tri- 
umph. 

O'D. {embraces Eileen). My dear love ! Eileen Oge !* 

PjIleen. Eileen, young or old, ever yours — heart and soul !t 

NoR.\H. Well, Patrick dear, we are all anxious to know how you were 
t-aved since I saw you thrown down the trap. 

O'D. The dru'i which had been adminstered to me had not exerted its 
full effect, and the shock of the cold water restored me to full conscious- 
1 'ss. I struck out in the stream, and succeeded in reaching the bank. 
1 11 can lie-u- the rest at another time. 

Uryan. Yis, whin the honeymoon is over! (All laugh.) 

* Eileen O^e means Eileen the Young. 

t When presssd lor time, the curtain can fall here. 



42 EILEEN OGE. 

John {to Bridget). Then there isn't to be any wedding but ours after 
all. (r. c. ) 

Bridg. Ours ! Sure I can't go — I gave thera flowers of yours to the 
pigs ! 

John, Oh, and the license ! I'll lose the three pounds ten I paid on 
tl)c 1 cense. 

Bridg. Unless ye like to have the name altered so it will do for him. 
{beckons Bryan to her.) 

John {retires from Bryax, who threatens him, to r 1 e. Bryan kic/is 
him. He jumps and criis " Oh ! Nimiiiysis ! " and exits, r. 1 e.) 

Maho. As you all seem to be agreed, I see no reason why we should 
not carry out tlie ceremouy commenced five years ago ! Mr. Moriarty, 
you have no objections ? 

Mori. None — save that my daughter can bring her husband no other 
dower than herself and her old father's debts 

O'D. Pooh, pooh ! as for herself, never can she be more to me than 
now ! and as to the debts, why, tliey shall be less from this moment. 

Mori. What do you mean, Patrick ? 

O'D. Sometimes, what we think is a misfortune is a blessing in dis- 
guise. When I was cast upon a desolate island, I thought there could be 
no worse fate than mine. But coining by chance to a cave by the shore, 
1 found it one of those hoards where Nature, iu her freakish mood, stores 
up her most precious treasures. 

Bryan. Did ye find a goold mine 1 

O'D. Better than that ! the precious metal was in solid blocks. I had 
to share it with my shipwiecked comrades, but enough fell to my share 
to insure us all from want for all our lives. 

Bryan. Hurroo ! there's n lucky boy to have everything a man wants. 

Eileen. Tlien, all the clouds have passed away, and I feel that never 
could there be a day more bright. 

O'D. It is always so. In th • gloom we blindly hasten to despair, for- 
getting that when it is the darkest hour, then soonest cometh the dawn. 

Ttciiire. 

Bryan. Bridget. O'Donnell. Eileen. Moriarty. 

Music — livclt/. 

CURTAIK 



Lii.KKN OGE. 43 



smopsis. 

The scene of the First Act shows an abbey, by sunrise. A sprightly Irish mai«., 
Bridget, and a cockney valet have a peppery confab, interrupted by the entrance 
of Bryan O'Farrell, a tight broth of a boy, and his actions and words both re- 
veal that he and Bridget are lovers. Their brisk chat is cut short by the entrance 
of Patrick O'Donnell, the lover of Eileen Mori arty. He is verj-^ sorrowful in 
appearance and language, and sighs deeply as he hands Bridget a package for her 
young mistress. As he is about to withdraw Eileen appears at the window, and 
O'Donnell kisses her hand. Mr. Moriarty enters, and leams that O'Donnell 
has but just left. Then Father Mahoney and O'Donnell come on, while the two 
servants \vithdraw from sight, but are listening. The Father and O'Donnell, 
make known that their reason for calling is that, though this is O'Donnell's wed- 
ding day, yet that he thought it but right to inform his intended father-in-law that 
he had failed to get a renewal of the lease of his farm, of which he had been quite 
certain. Moriarty goes into his house saying that he will leave the answer to his 
daughter. O'Donnell freely accepts Bryan's offer of a home in his cabin for 
his mother, sister, and himself. Eileen and her father enter. She says that 
she is willing to have him, poor or rich, and Mr. Moriarty tells the priest to let 
the wedding proceed. The second scene, an office, shows Mr. Maclean and Henry 
Loftus. The latter reproaches the former that he has not interfered to prevent 
Eileen wedding O'Donnell, and Maclean tells him that he will yet prevent it, 
and will punish O'Donnell for his audacity, and shows him a letter, apparently in 
O'Donnell's writing, wherein the life of his landlord is threatened if he dares to 
evict O'Donnell from the farm. This letter is really the production of Tim the 
penman, who hops and looks like a gigantic magpie. In the third scene an amus- 
ing dialogue about O'Donnell's affairs comes off between Bridget and Bryan, and 
as they retire into the house the O'Donnell wedding party enters, and as they 
pass along Loftus appears, and says to O'Donnell that although he himself would 
have liked to have taken Eileen for his wife, yet he bears him no malice for his 
success, and gets permission to present an antique brooch to the bride elect. Just 
as the bridal party are about leaving for the church, the police enter and arrest 
O'Donnell for sending a threatening letter. This is a fine dramatic situation, 
ending with the forcible parting of the young lovers. 

The Second Act begins with an interview between Mr. Moriarty and Father 
Mahoney ; from this it appears that it is five years since O'Donnell was trans- 
ported, and was never to return to Ireland. Moriarty was financially ruined, and 
was in arrears for rent to Henry Loftus, now become the landlord. He still 
wanted to marry Eileen. But the fair maid, though sad-hearted, is fonder than 
ever of the man of her choice. Moriarty, Father Mahoney, and Eileen meet, 
when the former tells that a distraint for rent has been issued against him. This 
scene closes with a beautiful Aisionary tableau showing O'Donnell on a tropical 
isle. In the second scene, Maclean's office, Loftus and his agent have an inter- 
\iew ; Tim joins them, and they begin to realize that a sharp tool may have two 
edges. They give him, however, the warrant to distrain on Moriarity's crops. 
Loftus and Tim leave, and Norah, the sister of O'Donnell, enters, hoping to get 
work at haymaking. Maclean, struck by her beauty, tries to kiss her, but is pre- 
vented by the appearance of Mahoney, who rudely thrusts Maclean away. Then, 
as Norah runs off, and Maclean attempts to follow, the priest knocks Maclean 
down with his cane. The third scene shows a large sun-lighted hay-field, full of 
men and women, boys and girls, making hay. Then ensue all the rural sports, 
singing and dancing, which are brought to a rude stop by the entrance of Tim and 
the'police to seize the hay. The women go off, and then a fight follows, in which 
the peasants win the day. 



44 EILEEN OGE. 

A room in Moriarty's house is the first scene of the Third Act. Moriarty 
and Eileen are sadly conversing of their shattered fortunes. Loftus visits them, 
and explains that Maclean had gone beyond his orders, and that he has settled 
everything, and will pay the police a few guineas to settle their grievances for the 
attack made upon them. Mr. Moriarty leaves, and Loftus so well simulates the 
generous, sympathizing friend, that Eileen, melted by his eloquence, gives him 
hopes that she will wed him. The next scene is on a roadside, and there John 
Thomas and Bridget meet and have a keen encounter of cockney and Hibernian 
wit, which leads to John dropping on his knees and pouring out a declaration of 
his love ; as his eyes droop beneath the girl's glance, Br\'an quietly enters and 
takes her place, and much fun ensues. John and Bryan go off, and O'Donnell, 
disguised, enters. His soliloquy is interrupted by seeing two men approach, and 
he retires, just before Loftus and Maclean come on, conversing. A letter had 
fallen into Maclean's hands, by which he judged that O'Donnell was in the 
neighborhood, and was to meet his sister, Norah, at the haunted mill. They plan 
to arrest him at all hazards. When they leave tlie stage O'Donnell comes on and 
has a friendly meeting with Bryan. Then the scene changes to the interior of a 
ruinous water mill. O'Donnell i.s assaulted by Maclean and his associate, and is 
overpowered. Norah enters, Maclean seizes her, they struggle, and Bryan en- 
ters and drops Maclean by a pistol shot. 

Act the Fourth brings back the opening scene. Some funny passages occur be- 
tween Bridget and- John Thomas, interrupted by the appearance of Bryan. Ma- 
honey enters, and sends Bryan over to the office for a letter. Eileen comes on, 
and begs the priest's blessing and counsel. He advises lier to seek counsel in 
prayer, and she retires. Scene third is Maclean's office, in which Loftus and 
Maclean are comparing notes. Maclean has just come from the hospital, where 
he has been since he received Bryan's shot. He learns that Loftus is just dressed 
for his bridal with Eileen, and that nothing has been heard of O'Donnell, who 
was doubtless dro\\Tied in the old mill. Tim enters with policemen, and Maclean 
is handcuffed and taken off. The next scene is the same as the first of the play. 
Nearlj' all the characters assemble, and a messenger enters to say that Mr. Loftus 
and his friends are waiting for Miss Eileen. The party are on the way to the 
church, when ODonnell steps up to Eileen and offers her a diamond cross. 
Eileen is thunderstruck at his appearance and so are the rest, when the police en- 
ter and aiTest Henry Loftus on a charge of wilful perjury. The accusation had 
been sworn to by his old fellow-villain, Maclean. Then O'Donnell explains his 
long absence. He had been ship-^\Tecked, but that turned out a benefit, for he 
and his messmates discovered gold enough to enrich them. The government liad 
remitted his sentence of banishment, and here he was in the best of health. The 
piece closes with a general acknowledgment of the truth of the old adage "that 
dark's the hour before the dawn." 



DE WITT'S ACTING PLAYS (Continued). 



No. 
144. 

34. 
137. 
111. 
119. 
165. 

48. 

32. 
164. 
109. 

85. 

87. 
143. 
189. 
163. 
154. 



51. 
184. 
108. 
188. 
169. 
130. 

92. 
193. 

140. 

115. 
2. 

57. 
104. 
112. 
185. 

84. 
117. 

171. 
14. 

173. 
176. 
90. 
170. 



97. 



172. 

94. 

45. 
155. 

178. 

147. 
156. 

82. 

12 r. 

23. 



Lancashire Lass, melodrama, 5 acts.l2 
Larkins' Love Letters, farce, 1 act.. 3 

L'Article 47, drama, 3 acts 11 

Liar (The), comedy, 2 acts 7 

Life Chase, drama, 5 acts 14 

Li\ing Statue (The), farce, 1 act 3 

Little Annie's Birthday, farce, 1 act. 2 

Little Rebel, farce, 1 act 4 

Little Kuby, drama, 3 acts 6 

Locked In, comedietta, 1 act 2 

Locked In with a Lady, sketch, 1 act. 1 

Locked Out, comic scene 1 

Lodgers and Dodgers, farce, 1 act. . 4 
Leap Year, musical duality, 1 act. . . 1 

Marcoretti, drama, 3 acts 10 

Maria and Magdalena, play, 4 acts . 8 
Marriage at Any Price, farce, 1 act. 5 
Master Jones' Birthday, farce, 1 act. 4 

Maud's Peril, drama, 4 acts 5 

Midnight Watch, drama, 1 act 8 

Milky White, drama, 2 acts 4 

Miriam's Crime, drama, 3 acts 5 

Model of a Wife, farce, 1 act 3 

Money, comedy, 5 acts 17 

Mr. Scroggins, farce, 1 act 3 

Mr. X., farce, 1 act 3 

My Uncle's Suit, farce, 1 act 4 

My Wife's Diary, farce, 1 act 3 

My Wife's Out, farce, 1 act 2 

My Walking Photograph, musical 

duality, 1 act 1 

Never Keckon Your Chickens, etc., 

farce, 1 act 3 

New Mea and Old Acres, comedy, 3 8 

Nobody's Child, drama, 3 acts 8 

Noemie, drama, 2 acts 4 

No Name, drama, 5 acts 7 

Not a Bit Jealous, farce, 1 act 3 

Not So Bad as We Seem, play, 5 acts. 14 

Not Guilty, drama, 4 acts 10 

Not Such a Fool as He Looks, drama, 

3 acts 5 4 

Nothing Like Paste, farce, 1 act 3 1 

No Thoroughfare, drama, 5 acts and 

prologue 13 6 

OfE the Stage, comedietta, 1 act. ... 3 3 
On Bread and Water, farce, 1 act. . . 1 2 

Only a Halfpenny, farce, 1 act 2 2 

Only Somebody, farce, 1 act 4 2 

One too Many for Him, farce, 1 act. 2 3 

£100,000. comedy, 3 acts 8 4 

Orange Blossoms, comedietta, 1 act. 3 3 
Orange Girl, drama, in prologue 

and 3 acts 18 4 

Ours, comedy, 3 acts 6 3 

Our Clerks, farce, 1 act 7 5 

Our Domestics, comedy farce, 2 acts 6 6 
Our Heroes, military play. 5 acts. . .24 5 
Out at Sea, drama in prologue and 

4 acts 16 5 

Overland Route, comedy, 3 acts 11 5 

Peace at Any Price, farce, 1 act 1 1 

Peep o' Day, drama, 4 acts 12 4 

Peggy Green, fane, 1 act 3 10 

Petticoat Parliament, extravaganza, 

in one act 15 24 

Photographic Fix, farce, 1 act 3 2 

A COMPLETE 




No. M. F. 

61. Plot and Passion, drama, 3 acts 7 2 

138. Poll and Partner Joe, burlesque, 1 

act 10 3 

110. Poppleton's Predicaments, farce, 13 6 

50. Porter's Knot, drama, 2 acts 8 2 

59. Post Boy, drama, 2 acts 5 8 

95. Pretty Horse-Breaker, farce, 1 act.. 3 10 

181 and 182. Queen Mary, drama, 4 acts.38 8 

157. Quite at Home, comedietta, 1 act. ..52 
196. Queerest Courtship (The), comic op 

eretta, 1 act 1 1 

132. Race for a Dinner, farce, 1 act 10 

183. Richelieu, play, 5 acts 16 2 

38. Rightful Heir, drama, 5 acts 10 2 

77. Roll of the Drum, drama, 3 acts 8 4 

13. Ruy Bias, drama, 4 acts 12 4 

194. Rum, drama, 3 acts 7 4 

195. Rosemi Shell, travesty, 1 act, 4 

scenes 6 3 

158. School, comedy, 4 acts 6 6 

79. Sheep in Wolf's Clothing, drama, 17 5 

37. Silent Protector, farce, 1 act 3 2 

35. Silent Woman, farce, 1 act 2 1 

43. Sisterly Ser\dce, comedietta, 1 act.. 7 2 

6. Six Months Ago, comedietta, 1 act. 2 1 

10. Snapping Turtles, duologue, 1 act. . 1 1 

26. Society, comedy, 3 acts 16 5 

78. Special Performances, farce, 1 act. . 7 3 
31. Taming a Tiger, farce, 1 act 3 

150. Tell-Tale Heart, comedietta, 1 act . . 1 2 

120. Tempest in a Teapot, comedy, 1 act. 2 1 
146. There's no Smoke Without Fire, 

comedietta, 1 act 1 2 

83. Thrice Married, personation piece, 

lact 6 1 

42. Time and the Hour, drama, 3 acts . . 7 3 

27. Time and Tide, drama, 3 acts and 

prologue 7 5 

133. Timothy to the Rescue, farce, 1 act. 4 2 
153. 'Tis Better to Live than to Die, 

farce, 1 act 2 1 

134. Tompkins the Troubadour, farce, 13 2 
29. Turning the Tables, farce, 1 act. ... 5 3 

168. Tweedie's Rights, comedy, 2 acts.. 4 2 

126. Twice Killed, farce, 1 act 6 3 

56. Two Gay Deceivers, farce, 1 act 3 

123. Two Polts, farce, 1 act 4 4 

198. Twin Sisters (The), comic operetta, 

3 1 

2 1 

6 2 



1 act 

162. Uncle's Will, comedietta, 1 act 

106. Up for the Cattle Show, farce, 1 act. 

81. Vandyke Brown, farce, 1 act 

124. Volunteer Review, farce, 1 act 

91. Walpole, comedy, 3 acts 

118. Wanted, a Young Lady, farce, 1 act. 

44. War to the Knife, comedy, 3 acts, 



5 4 



105. Which ofthe Two? comed'etta, lact 2 IQ 



Who is Who? farce, 1 act, 

12. Widow Hunt, comedy, 3 acts 4 

5. William Tell with a Vengeance, 

burlesque 

136. Woman in Red, drama, 3 acts and 

prologue 6 

161. Woman's Vows and Mason's Oaths, 

4 acts 10 

11. Woodcock's Little Game, farce, 2 4 
54. Young Collegian (Cantab.), farce, 1 3 



8 2 



DESCRIPTIVE CATALOGUE 



of DE 'WITT^S ACTING PLAYS AND DE "WITT'S 
lOPIAN AND COMIC DRAMAS* containing Plot, Costume, Scenery, 
lepresentation and every other information, mailed free and post paid. Address, 
ROBERT M. DE WITT, 33 Rose Street, New York. 



LIBRARY OF CONGRESS 




)^ 



DE WITT'S ETHIOHAH^ ,,„,,, ,,3, 

Nothing so thorough and complete in the way of Etnioptan ana vomic vramas aas eve! 
been printed as those that appear In the following list. Not only are the plots excellent, the 
characters droll, the incidents funny, the language humorous, hut all the situations, by-play, 
positions, pantomimic business, scenery and tricks are so 2)lainly set down, and clearly ex- 
plained, that the merest novice could put any of them on the stage. Included in this catalogue 
are all the most laughable and effective pieces of their class ever produced. 

*** In ordering, x)lease copy the figures at the commencement of each play , which indicate 
the number of the piece in " De Witt's Ethiopian and Coaiic Drama." 

gW° Any of tJiefolloiving Plays sent, postage free, on receipt ofpnce—l5 Cents £acb. 

Address, ROBERT M. DE WITT, 

JVo. 33 Rose Street, JVew York, 



pW The figure following the name of the Play denotes the number of Scenes, 
figures in the columns indicate the number of characters. — ^M. male; ¥. female. 
*^* Female characters are generally assumed by males in these plays. 



The 



No. 
73. 

6. 
10. 
11. 
94. 
40. 
42. 
43. 
78. 
79. 
89. 
35. 
41. 
12. 
50. 
53. 
63. 
64. 
95. 

4. 
62. 
67. 



M. 

African Box, burlesque, 2 scenes. . . 5 
Black Chap from Whitechapel, 1 s. 4 

Black Chemist, sketch, 1 scene 3 

Black Ey'd William, 2 scenes 4 

Bruised and Cured, sketch, 1 scene. 2 

Big Mistake, sketch, 1 scene 4 

Bad Whiskey, sketch, 1 scene 2 

Baby Elephant, sketch, 2 scenes.. . 7 

Bogus Indian, sketch, 4 scenes 5 

Baraey's Courtship, Irish, 1 scene. 1 
Bogus Talking Machine, Dutch 4 
Coal Fleavers' Revenge, 1 scene.. 6 

Cremation, sketch, 2 scenes 8 

Daguerreotypes, sketch, 1 scene 3 

Draft (The), sketch, 1 act, 2 scenes. 6 

Damon and Pythias, 2 scenes 5 

Darkey's Stratagem, sketch, 1 act. . 3 
Dutchman's Ghost, sketch, 1 scene. 4 

Dutch Justice, sketch, 1 scene..' 11 

Eh ? What is it ? sketch, 1 scene. . . 4 

Excise Trials, sketch, 1 scene 10 

Editor's Troubles, farce, in 1 scene. . 6 
Elopement (The), farce, 2 scenes. . . 4 
Fellow That Looks Like Me, Is.... 2 
Fisherman's Luck, sketch, 1 scene. 2 
First Night, Dutch sketch, 4 scenes 4 

Ghost (The), sketch, 1 scene 2 

Glycerine Oil, sketch, 2 scenes 3 

Going for the Cup, interlude, 1 scene 4 

Ghost in a Pawnshop, 1 scene 4 

Guide to the Stage, sketch. 1 scene. 3 
Getting Square on Call Boy, 1 scene 3 
Good Night's Rest, sketch, 1 scene 3 
German Emigrant, sketch, 1 scene. 3 

Gripsack, sketch, 1 scene 3 

Hemmed In, sketch, 1 scene 3 

Hard Times, extravaganza, 1 scene. 5 
High Jack, the Heeler, 1 scene.. 6 

Happy Couple, sketch, 1 scene 2 

Hippotheatron, Sivctch, 1 scene 9 

In and Out, sketch, 1 scene.- 2 

Jealous Husband, sketch, 1 scene 2 

Julius the Snoozer, 3 scenes 7 

Last of the Mohic;ins, 1 scene 3 

Live Injun, sketch, 4 scenes 4 

Laughing Gas, sketch, 1 scene 6 

Lucky Job, farce, 2 scenes 3 

Lost Will, sketch, 1 scene 4 

Lunatic (The), sketch, 1 scene 3 

Mutton Trial, sketch, 2 scenes 4 

Malicious Trespass, sketch, 1 scene. 3 



No. 

44. 

96. 
101. 



Musical Servant, sketch, 1 scene... 3 
Midnight Intruder (The), 1 scene.. 6 

Molly Moriarty, Irish, 1 scene 1 

Night in a Strange Hotel, 1 scene. ... 2 
Obej'ing Orders, sketch, 1 scene... 2 

100th Ni^ht of Hamlet, 1 scene 7 

One Night in a Bar Room, 1 scene 7 
One, Two, Three, skeich, 1 scene. . 7 

Policy Players, sketch, 1 scene 7 

Pompey's Patients, 2 scenes 6 

Porter's Troubles, sketch, 1 scene.. 6 
Port Wine vs. Jealousy, 1 scene.. 2 
Pete the Peddlar, sketch, 1 scene.. 2 
Painter's Apprentice (The), 1 scene 5 
Polar Bear (The,) farce, 1 scene — 5 
Recruiting Oflice, sketch, 2sijteie8. 5 
Rival Tenants, sketch, 1 scenS%^ 4 
Remittance from Home, 1 scene... '6 

Riggin" a Purchase, 1 scene 2 

Rival Artists, sketch, 1 scene 3 

Stupid Servant, sketch, 1 scene 2 

Streets of New York, sketch, 1 scene 6 

Sam's Courtship, farce, 1 scene 2 

Scenes on the Mississippi, 2 scenes. 6 
Serenade (The), sketch, 2 scenes... 7 

Scampini, pantomime, 2 scenes 6 

Storming the Fort, sketch, 1 scene. 5 
Siamese Twins, sketch, 2 scenes... 5 

Slippery Day, sketch, 1 scene 6 

Stage Struck Couple (The), 1 scene. 2 
Sausage Makers (The), sketch, 2 s.. 5 
Squire for a Day, sketch, 1 scene. . . 5 

Stranger (The), sketch, 1 scene 1 

Sleepwalker (The), sketch, 2 scenes 3 
Three Chiefs (The), sketch, 2 scenes 6 

Three, A. M., sketch, 1 scene 3 

Two Black Roses (The), sketch. ... 4 

Tricks, sketch, 2 scenes. . . ." 5 

Three Strings to One Bow, 1 scene. 4 
Take It, Don't Take It, .sketch, 1 s. 2 

Them Papers, sketch, i scene 3 

Uncle Eph's Dream, sketch, 2 s 3 

Vinegar Bitters, sketch, one scene. 6 
Who^Died First, sketch, 1 scene. .. 3 
Wake up, William Henry, 1 scene. . 3 
AVanted, a Nurse, sketch. 1 scene.. 5 ; 
Weston the Walkist, Dutch 1 scene ; 
What Shall I Take ? sketch, 2 scene/' 
Who's the Actor ? farce, 1 scenes 
Wrong Woman in the Right T^ 
Young Scamp (The), sketch, V ' 



•dio3 ^^S^UPH 



♦ I. 6170 36t^ 171.0 




ssaaoNOOdOAHvaan 



LIBRARY OF CONGRESS 




014 492 049 1 % 



Hollinger Corp. 



